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Originaltitel '
Genre
Instrueret af Federico Fellini
Produceret af {{{producent}}}
Manuskript af Federico Fellini (historie)
Ennio Flaiano (historie)
Ennio Flaiano (manuskript)
Tullio Pinelli (manuskript)
Federico Fellini (manuskript)
Brunello Rondi (manuskript)
Medvirkende Marcello Mastroianni
Claudia Cardinale
Anouk Aimée
Sandra Milo
Musik af Nino Rota
Fotografering Gianni Di Venanzo
Distributør
Udgivelsesdato Italien 14. februar 1963
USA 25. juni 1963
Længde 138 min.
Land Italien Italien
Priser
Sprog Italiensk / Engelsk / Fransk / Tysk
Budget
Efterfulgte {{{forgænger}}}
Fortsættes i {{{fortsættelse}}}
på IMDb
scope.dk

(italiensk: Otto e Mezzo) er en film fra 1963 skrevet og instrueret af den italienske instruktør Federico Fellini. Den regnes af mange filmkritikere blandt de bedste film nogensinde; i en nylig afstemning blandt filminstruktører, lavet af British Film Institute, blev valgt som den 3. bedste film nogensinde.[1] Filmet blev filmet i sort-hvid af Gianni di Venanzo og har et lydspor af Nino Rota.

Indholdsfortegnelse

[redigér] Synopsis

Filmen omhandler en italiensk filminstruktør, Guido Anselmi (Marcello Mastroianni), som lider af skriveblokering. Han skal instruere en science fiction film men har mistet interessen midt i sine ægteskabelige problemer. Mens Anselmi kæmper halvhjertet med at få færdiggjort filmen, dykker en række flashbacks og drømme ind i hans hukommelse og fantasier.

[redigér] Themes

is about the struggles involved in the creative process, both technical and personal, and the problems artists face when expected to deliver something personal and profound with a large public watching, on a very set schedule – while all the while simultaneously having to deal with their own personal relationships. It is in a larger sense about finding true personal happiness in a difficult, fragmented life.

[redigér] Autobiographical elements

is highly autobiographical: Fellini made the film because he himself was suffering director's block; the character of Guido (played by Mastroianni, whom Fellini often used to mirror himself in his films) is a representation of himself and many of Guido's memories are based on Fellini's own. Because of this, is a recursive film: a film about the creation of itself.

Fellini did not originally intend the film so be so obviously autobiographical. According to screenwriter Tullio Kezich, in original script Guido was a writer who could not finish his novel. However, when Fellini found out that Marcello Mastroianni had just played a writer in Michelangelo Antonioni’s La Notte, he changed the character into a movie director, saying, "How am I going to ask Marcello to play a writer again? He’ll end up believing he’s one and he’ll write a novel."Skabelon:Fact

The title refers to the total number of films Fellini had previously directed: six films plus three collaborations (one of them, Boccaccio '70, counted as half a film as it was a short segment), making this production number 8½. Its working title was La Bella Confusione (The Beautiful Confusion).

Four years after completing , life imitated art. Fellini's producer, Dino de Laurentiis, had invested in an expensive replica of the Cologne Cathedral and other huge sets that had been built in Cinecittà for Fellini's film Il viaggio di G. Mastorna. Fellini then informed de Laurentiis that he would not finish the film. De Laurentiis was furious, much like the producer in .

[redigér] Production

During production, Fellini handwrote a note to himself and attached it to the camera below the viewfinder so that he would constantly see it when filming. It read, "Ricordati che è un film comico." ("Remember, this is a comedy.").

As with most Italian films of this period, the sound was entirely dubbed in afterwards, including the dialogue. Claudia Cardinale was dubbed by another actress because she had a regional accent.Skabelon:Fact The dubbing also caused a mistake: when Marcello Mastroianni is waiting at the station and Sandra Milo's train is heard arriving off-screen, we hear the whistling of a steam train, but when it finally appears, the train is being hauled by a diesel locomotive.

[redigér] Priser

Filmen vandt 2 Oscars for bedste udenlandske film og bedste kostumer (sort-hvid) og blev yderligere nomineret til bedste instruktør, bedste originale manuskript og bedste scenografi (sort-hvid).

Filmen vandt samtlige syv priser den var nomineret til ved det Italienske nationale konsortium af filmjounalister og filmen vandt topprisen ved Filmfestivalen i Moskva.

er nummer tre på magasinet Sight & Sounds liste over "Top 10 instruktører" og nummer ni på "Anmeldernes Top 10" fra 2002. <ref[1]</ref>


[redigér] Influence

The musical Nine and the Canadian television series More Tears are both based on Skabelon:Fact. The movie Tristram Shandy: A Cock and Bull Story, has some thematic parallels to and also features music from he film. Peter Greenaway's 8½ Women is a nod to Fellini's film. Woody Allen's Stardust Memories and Deconstructing Harry are modeled on Skabelon:Fact.

In Paul McGuigan's Wicker Park, when Lisa (Diane Kruger) tells Matthew (Josh Hartnett) that her shoe size is 8½, Matthew responds, "Like Fellini." The film itself is similar to in its use of non-linear narrative.

[redigér] Eksterne henvisninger

Efterfulgte:
Les dimanches de ville d'Avray
Oscar for bedste udenlandske film
1963
Efterfulgtes af:
Igår og idag og imorgen