{"id":1112,"date":"2022-04-13T05:09:42","date_gmt":"2022-04-13T03:09:42","guid":{"rendered":"https:\/\/museofellini.studiovisuale.it\/2022\/04\/13\/8-1-2\/"},"modified":"2023-03-16T11:06:27","modified_gmt":"2023-03-16T10:06:27","slug":"8-1-2","status":"publish","type":"post","link":"https:\/\/fellinimuseum.it\/en\/8-1-2\/","title":{"rendered":"8\u00bd"},"content":{"rendered":"
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8\u00bd<\/h1>\n
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Year: 1963
\nFormat: Black and white
\nRuntime: 114 min
\nProduction: Cineriz (Roma) e Francinex (Paris)
\nWord sales: Francinex (Paris)
\nViewed censorship: 3946106\/02\/1963\n<\/p><\/div>\n

Guido Anselmi, a famous Italian film director, is suffering from the “director’s block”. Despite Anselmi declaring that this movie should be an easy one to make, he is having problems with his artistic vision, and in particular he does not want to tell lies on the screen. He\u2019s blocked when shooting his new science fiction film, including some veiled autobiographical references, and he has lost interest amid artistic and marital difficulties. As Guido struggles half-heartedly to work on the film, a series of flashbacks and dreams delve into his memories and fantasies; they are frequently interwoven with reality. He is trying to relax in a spa after scoring success for his last film. He can’t really have peace, however, as the people who have worked with him in the past are constantly asking for more work to do. He wrestles with his conscience, but is unable to come up with a new idea. While thinking, he starts to recall the major events of his life, and all the women he has loved and then abandoned. He\u2019s a lot of stress, both at professional and personal level. As he works through these problems in the spa, and he thinks over his childhood. Both at the spa and\/or on a film set he\u2019s surrounded by many real people he\u2019ll portray on screen, including his wife Luisa \u2013 he loves her but he does not fully understand their marriage – his mistress Carla, the antithesis of Luisa, and an actress named Claudia who, in his opinion, will be his ultimate salvation.<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n

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Crew<\/strong><\/p>\n

Director: Federico Fellini
\nStory: Federico Fellini, Ennio Flaiano (ideato da Federico Fellini)
\nScreenplay: Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi
\nCinematography: Gianni Di Venanzo
\nCamera operator: Pasquale De Santis
\nMusic: Nino Rota
\nProduction design: Piero Gherardi
\nCostume design: Piero Gherardi
\nAssistant production designer: Luciano Riccieri, Vito Anzalone, Orietta Nasalli Rocca
\nFilm editing: Leo Catozzo
\nFirst assistant director: Guidarino Guidi, Giulio Paradisi, Francesco Aluigi
\nArtistic advisor: Brunello Rondi
\nMakeup artist: Otello Fava
\nHair Stylist: Renata Magnanti
\nStill photographer: Tazio Secchiaroli
\nScript supervisor: Mirella Comacchio
\nProducer: Federico Fellini, Angelo Rizzoli
\nProduction manager: Nello Meniconi
\nGeneral manager: Clemente Fracassi, Sandy von Norman
\nProduction supervisor: Mario Basili
\nProduction secretary: Albino Morandin<\/p>\n

Cast<\/strong><\/p>\n

Marcello Mastroianni : Guido Ansemi
\nAnouk Aim\u00e9e : Luisa la moglie di Guido
\nSandra Milo : Carla
\nClaudia Cardinale : Claudia
\nRossella Falk : Rossella
\nBarbara Steele : Gloria
\nGuido Alberti : Pace il produttore
\nMadeleine Lebeau : l’attrice francese
\nJean Rougeul : l’intellettuale
\nCaterina Boratto : la signora delle terme
\nAnnibale Ninchi : il padre di Guido
\nGiuditta Rissone : la madre di Guido
\nEdra Gale : la Saraghina
\nMario Conocchia : direttore di produzione
\nCesare Miceli Picardi : ispettore di produzione
\nTito Masini : il cardinale
\nMario Pisu : Mezzabotta
\nJacqueline Bonbon : Yvonne la soubrette
\nJan Dallas : Maurice il telepata
\nGeorgia Simmons : la nonna di Guido
\nEdy Vessel : Edy indossatrice
\nAnnie Gorassini : l’amica di Pace
\nRossella Como : amica di Luisa
\nGilda Dahlberg : la moglie del giornalista americano
\nOlimpia Cavalli : Olimpia
\nHazel Rogers : la negretta
\nBruno Agostini : segretario di produzione
\nElisabetta Catalano : sorella di Luisa
\nSebastiano De Leandro : un prete
\nFrazie Rippy : il segretario laico del cardinale
\nRoberta Valli : bambina
\nEva Gioia : la ragazza dell’ispettore di produzione
\nDina De Santis : la ragazza dell’ispettore di produzione
\nRoby Nicolosi : un medico delle terme
\nPolidor : un clown<\/p>\n

Awards<\/strong><\/p>\n

1963
\nAcademy Awards, Oscar for Best Costume Design, Black-and-White
\n1963
\nSilver Ribbon for Best Director
\n1963
\nSilver Ribbon for Best Producer
\n1963
\nSilver Ribbon for Best Supporting Actress: Sandra Milo
\n1964
\nSilver Ribbon for Best Original Story
\n1964
\nSilver Ribbon for Best Screenplay
\nSilver Ribbon for Best Cinematography, B\/W
\nSilver Ribbon for Best Music
\nMoscow International Film Festival Grand Prix, Nomination Oscar for Best Director
\nMoscow International Film Festival Grand Prix, Nomination Oscar for Best Original Stoory and Screenplay
\nBodil Award (Copenaghen), Best European Film
\nNomination Guild of America (Los Angeles), Career Oscar<\/p>\n

Peculiarites<\/strong><\/p>\n

“I was shooting Marcello\u2019s profile but he has a double chin. Hence I put a plaster on this face and his double chin was all moved to one side of his face. He was very good to bear acting this long scene, namely the one with his father at the cemetery. […] He was very patient with me and my crew. Make-up artists had prepared bags full of sand to alter his eyelids. I had told him he had to lose ten kilos. Then the hair stylist put white streaks in his air. Then, we had to change his hands: we made little hoods he had to wear to lengthen his fingers, but after a couple of shots the little hoods were blown away as if they were pencils. ”
\n(Rita Cirio, Il mestiere di regista, Garzanti, Milan, 1994, p. 36)<\/p>\n

Reviews<\/strong><\/p>\n

“Fellini\u2019s character Fellini is erotomaniac, sadist, a masochist, mythomaniac, afraid of leading his life, nostalgic of his mother\u2019s breasts, as well as a trickster and a cheater. A few of his traits remind us of Leopold Bloom, James Joyce\u2019s Ulysses hero, and Fellini has read and analyzed Joyce\u2019s works. The film is a monologue alternating some real events. Fellini describes a neurotic approach to impotence very clearly. […] Fellini’s dreams are always surprising and original. It is for this very reason the two childhood episodes set in the countryside of Romagna and the one showing his first meeting with a woman on the beach of Rimini, as an adolescent, are the best of the film and fall within the best episodes in Fellini\u2019s works”.
\n(Alberto Moravia, “L’Espresso”, 17 February 1963)<\/p>\n

“This film is a milestone in the history of the fictional film. La dolce vita – with its block-based structure – indicated a significant path both in film-making and literature. Otto e mezzo, however, moves forward towards experimentalism. In this film Fellini looks ahead, imagines the future, and analyzes the problems experienced in living, writing, and relating to the outside world”.
\n(Alberto Arbasino, “Il Giorno”, 6 March 1963)<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":818,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20,22],"tags":[],"class_list":["post-1112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fellini-en","category-filmography"],"acf":[],"yoast_head":"\n8\u00bd - Fellini Museum<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fellinimuseum.it\/en\/8-1-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"8\u00bd - Fellini Museum\" \/>\n<meta property=\"og:url\" content=\"https:\/\/fellinimuseum.it\/en\/8-1-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Fellini Museum\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/FelliniMuseum\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-04-13T03:09:42+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-16T10:06:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/fellinimuseum.it\/wp-content\/uploads\/2022\/04\/manreg10.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"240\" \/>\n\t<meta property=\"og:image:height\" content=\"325\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin_fellini\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin_fellini\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/8-1-2\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/8-1-2\\\/\"},\"author\":{\"name\":\"admin_fellini\",\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/#\\\/schema\\\/person\\\/e8ca3cfdf9c4fd85c306a591beda6eae\"},\"headline\":\"8\u00bd\",\"datePublished\":\"2022-04-13T03:09:42+00:00\",\"dateModified\":\"2023-03-16T10:06:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/8-1-2\\\/\"},\"wordCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/8-1-2\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/fellinimuseum.it\\\/wp-content\\\/uploads\\\/2022\\\/04\\\/manreg10.jpeg\",\"articleSection\":[\"Fellini\",\"Filmography\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/8-1-2\\\/\",\"url\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/8-1-2\\\/\",\"name\":\"8\u00bd - 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