It should be assumed that to appreciate 8½ requires the individual spectator to be capable of reading more than a single superlative or blunt phrase.īetween 19, across three decades, Vincente Minnelli’s The Bad and the Beautiful, Federico Fellini’s 8½, and François Truffaut’s La Nuit américaine (Day for Night) took a piercing stare behind the light and shadows of the silver screen to the business behind the art. Perhaps François Truffaut said all that needs to be said when he wrote, “Fellini’s film is complete, simple, beautiful, honest, like the one Guido wants to make in 8½.” Is this not the quote that should adorn this glorious Blu-Ray release rather than the habitually mundane phrase from what was a thoughtful Guardian review, before Argent Films reached for their hatchet and carved out the following, “…8½ is Fellini’s real masterpiece.”Ī film such as 8½ or to correct myself, a poetic masterpiece of sound and image should be recommended with a thoughtful phrase rather than a blunt statement. When one comes to review a masterpiece of Italian and more broadly of the cinematic art form, precisely what words should one use to mark the page? Well, it’s not a page now is it, but rather a screen comprised of an inordinate number of pixels.
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