8 1/2

In La Dolce Vita, “Mastroianni became the dark, mysterious, and sexy Italian male,” (page 25). My first question was, how does this image change in Fellini’s 8 1/2? I feel that on many levels it doesn’t. Mastroianni's character, Guido, continues to possess several characteristics of the Latin lover, which were carried over from his role in La Dolce Vita. For example, his fashionable costumes still mark him as an elegant “Don Juan.” This represents the Italian aspect of the Latin Lover, as opposed to the Latin American version, which is usually embodied by lower class characters (think West Side Story). Particularly notable are Guido's retro sunglasses, which he often wears to conceal his thoughts, such as when his wife, Luisa, is interrogating him about his mistress Carla. Moreover, it is the many women in Guido's life that exemplify him as the Latin lover. In the flashback/dream sequence where Guido is in the house with all the women, at one point they all turn on him, intending to shame him for his many affairs, but in the end they seem to give up. The fact that women surround him may automatically make him appear to be “a dandy,” even though he seems to deny it.

At the same time, Guido is also seen as an “Inetto,” (page 39). This is another side to the Latin lover: a "schlemiel," an inept character characterized by his failures. Fellini uses this as another way to create emotional conflict for the audience. Despite our dislike for Guido's infidelity, we still want him feel sorry for his struggles and hope to see a change in the course of the film. We hope to see him settle down with one woman, possibly the beautiful Claudia, who he seems quite taken with toward the end of the film. However, in true Fellini style, Guido is the anti-hero, and the audience is given no such satisfaction of seeing him triumph. Instead, the film ends with a gun, and all the characters dancing, holding hands, and wearing white.

The variety of roles that the men and women take on, particularly the unfaithful characters, are a perfect example of how 8 1/2 stands out from other films of its time. Fellini pushes the limits of what were acceptable character roles and relationships at the time. 8 1/2 was released in 1963, a new age for Italy full of new possibilities. However, during the fascist regime and Mussolini's rise to power, few Italian films were being produced; many more were imported from the United States. Those that made it to the screen were heavily edited so that all content was in line with current political propaganda. 8 1/2 did not suffer from this, and so Fellini had free reign over creativity.

Still, there are certain aspects of the film that reveal Fellini's political agenda. I believe he found ways to poke fun at Italy’s recently overthrown political system, for example through his use of architecture in the film. According to Reich, “Italy has been seen – and has seen itself – as a backward as opposed to a modern nation.” (Page 26) In my opinion, Fellini's use of architecture reflects Italy's lack of modernity. I believe he intentionally portrayed the Italian political environment as a decaying system through his use of ancient statues surrounding the gardens, as well as the crumbling ruins seen in the background of Guido’s dreams of his mother and father.

Furthermore, the architecture contrasts with the elegantly dressed characters, who strolled around their spa facility. Fellini's use of wartime orchestral pieces, such as Flight of the Valkyries, heavily contrasts with the fragile, relaxed patients walking around the grounds, and instead of a relaxing spa, it felt more like a mental hospital or asylum. I felt that this may have been Fellini's way of making fun of the upper class who inhabited the spa/hospital by portraying them as insane.

Although these interpretation may not be shared by others, at the very least they imply the confusion the audience feels while watching the film, not only from the strange soundtrack, but also the scenes of flashbacks and dreams. In the same way that the viewer is not always able to discern reality scenes from dream scenes, Guido seems to be stuck between the two as well. Overall, 8 1/2 may be summed up as one man's struggle between his personal life and his professional life. It is up to us to decide which one is the dream world, and which one is real.

References

Jacqueline Reich, Beyond the Latin Lover

Carlo Celli and Marga Cottino-Jones, A New Guide to Italian Cinema