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Terry Gilliam and David Lynch, Filmmakers But take a look at this comparison of the twist scene from Fellini’s film and the twist scene between John Travolta and Uma Thurman in Pulp Fiction:Ħ. Quentin Tarantino likes to talk about the importance of Jean-Luc Godard, and particularly Band of Outsiders, on his film. But that may be irrelevant, since 8 ½’s influence is so culturally pervasive that one need not have seen it to be influenced by it - or, in Kaufman’s case, to have been practically willed into existence by it. Amazingly, the writer-director once claimed to have never even seen 8 ½. Sound familiar? Indeed, the elaborate, hall-of-mirrors quality of 8 ½’s has fed pretty much all of Charlie Kaufman’s work - from Being John Malkovich to Adaptation to, ultimately, Synecdoche, New York (which at times feels like Kaufman’s own remake of 8 ½). song? Who knows? But it’s one of their best videos, and it’s basically an entire riff on 8 ½’s opening dream sequence:Ī film within a film about the making of a film, which is the very film we’re watching, and which reveals its creator’s own neuroses through the very act of its making, which is in fact the very act of its not being made.
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Roman Coppola’s CQ is a cornucopia of references to sixties movies, chief among them 8 ½ and Jim McBride’s David Holtzman’s Diary (which is itself a kind of riff on 8 ½, come to think of it), but the references just serve to remind viewers of all the better movies that CQ is not. Joel Schumacher’s Falling Down quotes Fellini’s celebrated opening traffic jam sequence. Other much-lesser films have riffed on 8 ½ in one way or another. But onscreen, it came off like a film that had taken all the wrong lessons from Fellini’s work: fetishizing locale and setting instead of finding a way to express the creator’s existential and romantic angst through form. Take Nine - Rob Marshall’s disastrous, star-studded attempt to film what by all accounts was an excellent stage musical.
LIST OF FEDERICO FELLINI FILMS MOVIE
Just because your movie shares some conceptual DNA with Fellini’s masterpiece doesn’t mean it’s going to be good.
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These Not-So-Great Movies: Nine, Falling Down, My Life’s in Turnaround, CQ (Honorable mention: Martin Scorsese’s early student film It’s Not Just You, Murray, which basically ends the same way as Fellini’s film.)Ģ. And I’m Not There, Todd Haynes’s meta-meta Bob Dylan biopic, is only partially about filmmaking, but it’s replete with direct references to 8 ½. Sometimes, the influence is more pervasive: Bob Fosse’s All That Jazz and Woody Allen’s Stardust Memories are practically overt remakes, while Christopher Guest’s The Big Picture and Francois Truffaut’s Day for Night are more just lovingly influenced. (And in the same year that Fellini released 8 ½, Jean-Luc Godard released the seminal Contempt.) But Fellini’s film was the first to combine the kind of playful self-reflectiveness and directly confessional quality that many later films about filmmaking and creative neuroses also captured. These Great Movies: All That Jazz, Stardust Memories, The Big Picture, Day for Night, I’m Not ThereĨ ½ wasn’t the first film about filmmaking: Preston Sturges had gone there with Sullivan’s Travels, Vincente Minnelli with The Bad and the Beautiful and Two Weeks in Another Town, Dziga Vertov with Man With a Movie Camera, and Joseph von Sternberg with The Last Command, just to name a few. To give you an idea of how pervasive that influence is, here’s our list of eight things that (probably) wouldn’t exist without 8 ½.ġ. (Cute story: The title refers to the fact that it would be Fellini’s eight-and-a-half-th film he’d made six features, and three collaborative films which he counted as halves.) And it landed like an earthquake on the international film scene in 1963 unlike many other now classics ( Vertigo, Citizen Kane, The Rules of the Game, etc.), 8 ½ was acclaimed by audiences and critics alike right out of the gate. In case you don’t know, the movie is about a Fellini-like director (played by Marcello Mastroianni) struggling with a creative block and a host of romantic and existential neuroses. Federico Fellini’s masterpiece 8 ½ celebrates its 50th anniversary this week, which means that on some level, a particularly meta- kind of cinema also celebrates its 50th anniversary this week.