Word: fellini
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That purpose, unfortunately, has been greatly obscured by overly appreciative critics. The New York Review of Books could express its raptures only by predicting the imminent eclipse of Renoir, Resnais, and Fellini. This is ludicrous. To compare Kubrick with European directors is to denigrate the achievements of both. Kubrick attempts no subtle characterization, and few cinematic tricks. Using, rather than probing, neuroses, he fills his screen with comic stereotypes, all conventionally focused in stark black and white. Except for several shots of mushroom clouds and B-52's, the movie could easily be adapted to the stage...
...impressionistic self-portrait by Federico Fellini, might be termed a stream-of-consciousness film. From beginning to end, the movie follows the mind of film director Guido Anselmi (Marcello Mastroianni). It begins in one of his dreams; it ends with his ecstatic vision...
...women who crowd the health resort), the juxtaposition of lines, and, most of all, the endless convolutions of the plot. The film Guido is directing is similar in many respects to "8 1/2" itself, and his descriptions of the film-within-a-film help define Fellini's work. Often the film proceeds without clear reference to either plot; thus Guido explains to the actress Claudia that she will portray an innocent girl in white who offers innocence to the hero--after such a girl (played by the same actress) has already appeared in a vision to him. In another scene...
...Fellini handles his material brilliantly. The involved plotting and the symbolism are used to make the audience lost its sense of reality, but they are never allowed to become distracting. And all the plots, all the symbolism are resolved in the final scene...
...unclear whether "The Swindler" refers to one of the three major characters of his 1955 film, or to Director Federico Fellini himself. If one went to "The Swindler" in the proper mind-obliterating mood, one might be able to see it as described in the little blurb handed out by the Brattle: "Here, Fellini makes no concessions; with an utterly serious tone, he throws in our face all the desolate solitude, the crucl absurdity of the world: it is a cry from hell." Unfortunately for Fellini, the long-distance lines from hell have been rather busy lately, and his message...