Watch In Search Of Fellini (2017) Free

Co- scripted by Fellini, Tullio Pinelli, Ennio Flaiano, and Brunello Rondi, it stars Marcello Mastroianni as Guido Anselmi, a famous Italian film director. Shot in black- and- white by cinematographer. Gianni di Venanzo, the film features a soundtrack by Nino Rota with costume and set designs by Piero Gherardi.

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Directed by Federico Fellini. With Marcello Mastroianni, Anouk Aimée, Claudia Cardinale, Sandra Milo. A harried movie director retreats into his memories and fantasies.

Its title refers to it being Fellini's eighth and a half film as a director. His previous directorial work consisted of six features, two short segments, and a collaboration with another director, Alberto Lattuada, the latter three treated as . Acknowledged as an avant- garde film. Stalled on his new science fiction film that includes thinly veiled autobiographical references, he has lost interest amid artistic and marital difficulties.

While attempting to recover from his anxieties at a luxurious spa, Guido hires a well- known critic (Jean Rougeul) to review his ideas for his film, but the critic blasts them as weak, intellectually spineless, and confusing. Meanwhile, Guido has recurring visions of an Ideal Woman (Claudia Cardinale), which he sees as key to his story. His vivacious mistress Carla (Sandra Milo) comes from Rome to visit him, but Guido puts her in a separate hotel and mostly ignores her. The film production crew relocates to Guido's hotel in an attempt to get him to work on the movie, but he evades his staff, ignores journalists, and refuses to make decisions, not even telling actors their roles. As the pressure mounts to begin filming, Guido retreats into childhood memories: spending the night at his grandmother's villa, dancing with a prostitute (Eddra Gale) on the beach as a schoolboy, and being punished by his strict Catholic school as a result.

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The film critic claims that these memories are too sentimental and ambiguous to be used in Guido's movie. Granted the rare opportunity to have a personal audience with a Cardinal in a steam bath (a scene which Guido plans to replicate in his movie), Guido admits that he isn't happy. The Cardinal responds with quotes from the catechism and offers little insight into his condition.

Guido invites his estranged wife Luisa (Anouk Aim. They dance, suggesting that the couple still has a chance to reconcile, but Guido abandons her for his production crew. The crew tours the steel infrastructure of a life- sized rocket ship set built on the beach, and Guido confesses to his wife's best friend Rosella (Rossella Falk) that he wanted to make a movie that was pure and honest, but he is struggling with something honest to say. Carla surprises Guido, Luisa, and Rosella outside the hotel, and Guido claims that he and Carla ended their affair years ago. Luisa and Rosella call him on the lie, and Guido slips into a fantasy world where he lords over a harem of women from his life. They bathe him (like at his grandmother's villa) and spray him with powder, but a rejected showgirl starts a rebellion. The fantasy women attack Guido with harsh truths about himself and his sex life, and Guido literally whips them back into shape.

Fed up with delays, the producer (Guido Alberti) forces Guido to review his many screen tests, but Guido still won't make any decisions. The screen tests are for roles portrayed earlier in 8. When Luisa sees how bitterly Guido chooses to represent her in the movie, she flees the theater, declaring that their marriage is over since Guido is unable to deal with the truth. But Guido's Ideal Woman arrives in the form of an actress named Claudia. Guido takes her to visit a proposed set, explaining that his movie is about a burned- out man who finds salvation in this Ideal Woman.

Claudia listens intently, but concludes that the protagonist is unsympathetic because he is incapable of love. Broken, Guido calls off the film, but the producer and the film's staff announce a massive press conference at the rocket ship set.

Guido attempts to escape from the frenzied journalists, and when pressed for a statement, he instead crawls under a table and shoots himself in the head. The crew begins to disassemble the rocket ship, since the film is canceled. The critic praises Guido for making a wise decision, and Guido has a revelation— he was attempting to solve his personal confusion by creating a film to help others, when instead he needs to accept his life for what it is. He asks Luisa for her assistance in doing so, and she says she'll try.

A group of musical clowns, led by a young Guido, transform the rocket ship set into a circus, leading the men and women of Guido's life down the steps of the set. Shouting through a megaphone, Guido directs them into a circus ring, and Carla tells him that she figured out what he was trying to say— that Guido can't do without the people in his life.

The men and women hold hands and run around the circle, Guido and Luisa joining them last. Marcello Mastroianni as Guido Anselmi, a film director. Anouk Aim? It’s a warning bell: something is blocking up his system. Hd Video Download Slamma Jamma (2017) on this page.

Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the movie’s title. Under pressure from his producers, Fellini finally settled on 8. He hired cinematographer. Gianni Di Venanzo, among key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living. Interrupted by the chief machinist requesting he celebrate the launch of 8. Raising a toast to the crew, he .

I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film. I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make.

Written on it was Ricordati che . Fellini told her that he hoped to convey the three levels .

As with most Italian films of this period, the sound was entirely dubbed in afterwards; following a technique dear to Fellini, many lines of the dialogue were written only during post production, while the actors on the set mouthed random lines. Otto e mezzo marks the first time that actress Claudia Cardinale was allowed to dub her own dialogue; previously her voice was thought to be too throaty and, coupled with her Tunisian accent, was considered undesirable.

Lost in thought, Guido looks up to see all the characters of his film smiling ambiguously at him as the train enters a tunnel. Fellini then shot an alternative ending set around the spaceship on the beach at dusk but with the intention of using the scenes as a trailer for promotional purposes only. In the documentary Fellini: I'm a Born Liar, co- scriptwriter Tullio Pinelli explains how he warned Fellini to abandon the train sequence with its implicit theme of suicide for an upbeat ending. He's afraid of life and wants to return to his mother's womb..

In some respects he resembles Leopold Bloom, the hero of James Joyce's Ulysses, and we have the impression that Fellini has read and contemplated this book. The film is introverted, a sort of private monologue interspersed with glimpses of reality.. Fellini's dreams are always surprising and, in a figurative sense, original, but his memories are pervaded by a deeper, more delicate sentiment. This is why the two episodes concerning the hero's childhood at the old country house in Romagna and his meeting with the woman on the beach in Rimini are the best of the film, and among the best of all Fellini's works to date. It is impossible to distinguish Fellini from his fictional director and so Fellini's faults coincide with Guido's spiritual doubts.

The osmosis between art and life is amazing. It will be difficult to repeat this achievement. There isn't a set, a character or a situation that doesn't have a precise meaning on the great stage that is 8. The film became the most difficult feat the director ever tried to pull off.

It is like a series of acrobats . But at just the right moment, the acrobat knows how to perform the right somersault: with a push he straightens up, saves himself and wins.