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Mr_sausage wrote:

Magic Hate Ball wrote: I'd find it hard to agree that 8½ is a terribly coherent movie in regards to many other films.

Do you mean coherent in terms of narrative or thematic structure? As narrative, yes, the film seems oddly constructed. But, most importantly--as this makes the loose narrative structure irrelevant--the thematic structure of the film is not only coherent but unified, and is carefully developed throughout each scene. Indeed, each scene serves as a piece that in the end forms the great circle in which Guido dances.

I assumed we were talking about the plot of the film, not the thematic overtones, which are "coherent and unified"...after you've read up on them, of course.

Magic Hate Ball wrote:

Mr_sausage wrote:

Magic Hate Ball wrote: I'd find it hard to agree that 8½ is a terribly coherent movie in regards to many other films.

Do you mean coherent in terms of narrative or thematic structure? As narrative, yes, the film seems oddly constructed. But, most importantly--as this makes the loose narrative structure irrelevant--the thematic structure of the film is not only coherent but unified, and is carefully developed throughout each scene. Indeed, each scene serves as a piece that in the end forms the great circle in which Guido dances.

I assumed we were talking about the plot of the film, not the thematic overtones, which are "coherent and unified"...after you've read up on them, of course.

I never caught that assumption. And while it sounds like you're only being half serious, I'll say I don't think you need to read up on 8 1/2 in order to catch its thematic expressions.

Mr_sausage wrote:I never caught that assumption. And while it sounds like you're only being half serious, I'll say I don't think you need to read up on 8 1/2 in order to catch its thematic expressions.

Well, read up/listen to the commentary. Similar. I suppose I'd consider myself a fairly casual film viewer, at least in respect to this rabid crowd (ha-ha), so it's no surprise I'd find 8½ difficult and confusing.

Magic, have you seen Nights of Cabiria? I watched it again last night after so many years. This has to be THE Fellini film everyone can like easily. Plus it has one of the most beautiful endings in all cinema, an ending that will carry you throughout all your life.

Michael wrote:Magic, have you seen Nights of Cabiria?

Not yet, but I'm going to wade through all the Godard and Fellini films simultaneously.

Also, 8½ is now one of my favorite movies.

I apologize if this has been discussed before, but I did several searches and found nothing.

I was looking at upcoming HK dvds and noticed that some company I've never heard of is releasing 8 1/2 in kind of fancy packaging.



They seem to be putting some effort into their releases so perhaps the dvd is worth looking into?

I found their company site here. They also released La Dolce Vita. Anyone here know about that release? I haven't been able to find any impressions on that disc.

I did find a review of their release of Papillon though.

Rather nice looking 8 1/2 box set ('Cherished Edition') out at the end of the month in Japan (first time on DVD here).
It's a 2 disc set with a 50 minute documentary 'The Lost Ending' on disc 2.

I note details regarding a restoration at the studios in Rome and something about using a "Spirit Datacine" machine to get a HD Telecine or something (the more technically inclined could perhaps point out if this is a good thing) and stuff about removing dirt and whatnot.

Also features 8 (and a half!) photocards of various scenes and a 48 page book.

Costs a huge amount rrp, but slightly more reasonable at Amazon.co.jp

No English subs though.

edit: Perhaps upcoming R2 Japan would be a better thread for this post to be moved to? It doesn't really have much to do with Criterion.

does this mean that Criterion lost or relinquished the rights to 8 1/2 and there will be no reissue?

aox wrote:does this mean that Criterion lost or relinquished the rights to 8 1/2 and there will be no reissue?

HK and Japan DVD Rights have no effect on Criterion.

I never noticed it before, but there is an amusing slip-up in the subtitling: when Guido asks the French actress how's her asparagus ("asperges" in French), it is translated as "How's the ice-cream?" Perhaps it was only the few snippets of French that posed a challenge to the subtitlers, but one can only wonder if they made other similarly obvious mistakes with the Italian dialogue, something I am not competent enough to judge.

Anyone else noticed problems with the subtitling?

New supplement exclusive to Blu-ray:

The Last Sequence, a new 52-minute documentary on Fellini’s lost alternate ending for 8 1/2 (available on Blu-ray edition)

Jeff wrote:New supplement exclusive to Blu-ray:

The Last Sequence, a new 52-minute documentary on Fellini’s lost alternate ending for 8 1/2 (available on Blu-ray edition)

=D>

Ah, the train scene. That should be interesting. I don't know how they'll spend fifty-two minutes on it, but whatever.

Magic Hate Ball wrote:Ah, the train scene. That should be interesting. I don't know how they'll spend fifty-two minutes on it, but whatever.

It has been awhile since I have watched my DVD of L'Ultima sequenza but I remember the majority of the doc is of still images from the production with audio interviews by Gideon Bachmann with Fellini about various points on his creativity and film in general, Mastroianni about his portrayal of Guido and Gianni di Venanzo about the train scene. There are numerous video interviews of cast, crew and critics but I find the actual discussion of the lost ending runs less than half of the 52 minutes so some people may be impatient with the doc as a whole.

Not good to hear about possible DNR, how does the PQ compare to say 400 Blows, or Marienbad Chris?

It's actually not that bad and I still think it looks good overall. Some close ups just looked a little, uh, waxy I guess you could say. It's probably a notch below Marienbad and 400 Blows.

Hm, I don't like that smooth image in some caps. :-k

watching bits of 8 1/2 now before I have to run out. the transfer is stunning. I have never seen this film this clean and sharp. One of the best blu's Criterion has released. I think they even did a better job with this that they did with The Seventh Seal, and Repulsion.. Definitely tied with Last Year at Marienbad for their best B&W presentation (Even with the DNR, I think it might even be better than the 400 Blows).

The amount of detail now apparent is incredible.

Tha's exciting to read aox! Although I am confused, as I found Seventh Seal and Repulsion better B&W presentations than Marienbad!

Either way, I am rapt with your comments on 8 1/2 and can't wait to receive mine! =D>

daniel p wrote:Tha's exciting to read aox! Although I am confused, as I found Seventh Seal and Repulsion better B&W presentations than Marienbad!

I guess we'll just have to agree to disagree. While I might see an argument for Repulsion being better than or as good as Marienbad (transfer-wise), I thought the Seventh Seal was clearly showing the age of the print. Marienbad is probably the most stunning B&W transfer I have ever seen so far.

aox wrote:

daniel p wrote:Marienbad is probably the most stunning B&W transfer I have ever seen so far.

I agree completely.

and to be clear, I still can't decide if I even like Last Year at Marienbad. I think it is brilliantly made, visually gorgeous, and infinitely curious, but I still don't know how I feel about it from a subjective point of view.

aox wrote:and to be clear, I still can't decide if I even like Last Year at Marienbad. I think it is brilliantly made, visually gorgeous, and infinitely curious, but I still don't know how I feel about it from a subjective point of view.

Just like 8 1/2, Marienbad is a film to which I react intellectually and aesthetically, but not subjectively. Both display a remarkable visual richness (moreso in the Resnais film) and an assured command of the medium and of playing with its codes and conventions.

But even films that do not reach me emotionally can be transcendent experiences. And that's exactly what Marienbad does. 8 1/2 not as much, perhaps because Fellini puts his own persona so much up front and center, with all the associated ironic detachment effects, that the mechanics of the thing become a tad too apparent and obvious.