No sé qué he estado esperando todos estos años.
Acabo de ver por primera vez en mi vida "8 1/2" ("Otto e Mezzo"), la película que Federico Fellini hizo en 1963, y por fin he comprendido lo que es una obra maestra.
Es una de las películas sobre cine más grande jamás filmadas, que convierte la crisis artística de un hombre en una gran epopeya del cine.
Su historia sobre la falta de creatividad e inspiración, y la crisis creativa, se transforma en una profunda reflexión sobre el comportamiento humano, sobre las relaciones de pareja y en general sobre la desesperación y el vacío de la vida. Tremendamente desesperada e inquietante, es al mismo tiempo una alegre y gozosa mirada a la sexualidad y a la creatividad.
Su estética y puesta en escena es tan potente, y me ha gustado tanto, que nunca más podré olvidarla.
Fellini decía algo así como: "Mi vocación más auténtica es representar todo cuanto veo, todo aquello que me golpea, me fascina, me sorprende." ¡Cuánta razón tenía! ¡¡Qué grande era!!
Os dejo con su figurado trailer, otra obra maestra...
Y sin olvidar por supuesto al gran Marcello Mastroianni y su harén.....
También me ha gustado el comentario del director de cine británico Terry Gilliam en un programa de la BBC2 donde le preguntaban sobre una de sus películas favoritas de la historia del cine. A mí me ha emocionado:
(BBC2’s Close Up
Close Up is a program on BBC2 where celebrities are asked to choose their favourite cinematic moment. For the edition broadcast on 27 November 1995, Terry Gilliam was the guest. The transcript of what he said is below...
"Because I have to choose, I chose Fellini’s 8 1/2. I don’t like having to choose because I hate reducing all of my filming experience to one film. But 8 1/2 somehow coalesces for me in many ways the essence of cinema and in particular the sequence that I have chosen is Marcello Mastroianno passing down the hallways of the hotel where they’re trying to make this movie, and he has this phenomenal ability to tap dance his way out of trouble and when I saw that, it was long before I ever made a movie, but I suspected there was truth to that and subsequently now having made a few movies, I know it’s the ultimate truth of movie making, and the job of the director is to tap dance past all the problems.
I was 23. Kennedy was planning to get assassinated. I was in New York. I’d left college and this film came on and I’d always been a Fellini fan, but something about 8 1/2, it just got under my skin. Creativity is really what it’s about. It just happens to be about a movie director. It’s about the process of trying to make something and knowing you don’t know how to make it, and everybody waiting for you to come up with the solution. He is stalling. He is dealing with producers and money problems. It’s really just this juggling back and forth while his whole life is disintegrating and him remembering bits of it and the fact that the film then spreads right back through his life, through his dreams, through the relationship with his parents, everything is what’s so wonderful about it. It uses that and it uses the past, the future, the present and it uses dreams - all the things that I’ve used in my films in different ways.
Most people want to think life has got some structure, form and that you can distinguish the past from the future, and the present. I don’t think it’s true, I think Fellini admits to that and allows all of these things to enter into the process. Faces always coming at you - he’s got the money, he’s got everything, but he doesn’t know what he’s doing and everyone’s coming at him. They’re all wanting answers. They’re all wanting something from him. I think one of the first times I was really aware of the camera as a partner in dance, because I think the film is like a dance. He shoots like a dancer would shoot. It’s all moving, it’s shifting. Things are coming in and out of frame. It’s never still. It’s what life always seems like to me. It always feels like the passage through life.
I don’t know. I think Fellini just told me things about my future. He told me about the process of life. He told me things about the process of life. He told me things about memory that all seems true and honest and believable, even though he lies the whole time. That’s what I love about Fellini, he’s a liar. He’s a constant liar. He twists and distorts the truth.
Now whether any of us saw the world like Fellini showed us until he actually made his films I don’t know. I have that terrible feeling he opened our eyes to a world that was sitting there all alone. Those of us who followed could come and see the world that he saw.
Mastroianni - I mean I just - from the moment I saw him I thought - wouldn’t it be nice to be Mastroianni, and even Fellini had the same feeling - wouldn’t it be nice to be Mastroianni, and so he got him in to be Fellini in all his movies. I mean not only was he handsome, but he was tired of life at an early age. He was romantic. He was weak. He vacillated. All the things that I didn’t want to be, and probably would’ve ended up being.
I think when I saw it, my reading of it was that the auteur existed. I mean there was the director - the Fellini character - played by Marcello who they’re all looking to for the answers. They’re all doing their jobs, but the centre man, the one who makes the decisions ultimately is the director. And maybe that’s why I wanted to become a director. I wanted to be that person that they all came to for answers.
Once you become a director you realise that’s the last thing you want because you don’t have the answers, and they all think you do. I’m convinced films don’t need directors to be made. I think that they need somebody who pretends to be the director so that they can all go and blame them for everything and not get the answers they need so they get on and do their job as best they can. Films can be made that way. The director is more of a myth than anything else and I’m happy to be part of that mythology.")