Criterion Sunday 140: 8½ (aka Otto e mezzo, 1963)

It’s not that I don’t appreciate what Fellini is aiming for here — portrait of the artist as a narcissist with mother issues, one of his abiding themes — it’s just that there’s so much whirl and spectacle that I find it difficult to keep up with why I should care about Marcello Mastroianni’s Guido and his many women (and memories of women, and fantasies of women). I’ve apparently seen this film before but I don’t remember it at all, not that I’m holding up this response as any kind of proof of anything. It’s undoubtedly a well-made film which does all those reflexive filmic things (he plays a film director) that critics love when compiling their all-time lists, and the cinematography by Gianni Di Venanzo is fantastic. I just struggle to find what’s in it that I can connect with. To each their own.


FILM REVIEW: Criterion Collection
Director Federico Fellini | Writers Federico Fellini, Ennio Flaiano, Tullio Pinelli and Brunello Rondi | Cinematographer Gianni Di Venanzo | Starring Marcello Mastroianni, Anouk Aimée, Sandra Milo | Length 138 minutes || Seen at Rialto, Wellington, Tuesday 31 October 2000 (and most recently on DVD at a friend’s home, London, Sunday 15 January 2017)

LFF: Model Shop (1969)


BFI London Film Festival 2013 FILM FESTIVAL FILM REVIEW: London Film Festival || Director Jacques Demy | Writers Jacques Demy and Carole Eastman | Cinematographer Michel Hugo | Starring Gary Lockwood, Anouk Aimée | Length 95 minutes | Seen at BFI Southbank (NFT3), London, Monday 14 October 2013 || My Rating 3 stars good


© Columbia Pictures

I am, it must be said, a huge fan of director Jacques Demy’s Les Parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964), with its bittersweet take on French provincial life at a time of colonial unrest. That film shared some of its fictional framework with Demy’s earlier film Lola (1961), which lacked the songs but still had a rich orchestral score by Michel Legrand and an assured performance by Anouk Aimée as a cabaret dancer. Her character returns in this intriguing Stateside film for Demy, every bit as enigmatic as that earlier outing.

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