8 1/2 is one of my favorite movies, and I hope everyone enjoyed it.

I remember, when I first watched it, that the camerawork and blocking (position and choreography of actors in the frame) stood out to me. It's evident in the early scene when Ride of the Valkyries is playing. The camera sweeps along giving screen space to several of the older patrons of the health resort before finally stopping at our out-of-place protagonist Guido (played wonderfully by Marcello Mastroianni). Another one of my favorite uses of the camera and actors occurs when Guido comes face to face with the actresses and producers attached to his film in the hotel lobby.

I also enjoyed the surreal, avant-garde aspects as well. Those parts really gave the film great depth and allowed for intersesting storytelling in a way that only a film could do. You can feel the influence of these scenes in movies such as Eternal Sunshine, Synechdoche, New York, and even Annie Hall.

One scene that probably sticks out to many is the famous harem sequence. I've always found this scene hilarious for many reasons. For one, it's a great use of visual storytelling to characterize Guido. It perfectly captures Guido's pig-headed attitudes toward the women in his life, most evident by the fact that the scene begins when he fantasizes that his wife and mistress are getting along (as he hilariously applauds them in the background). However, it also shows his inner need for women's love and affection. While it's certainly implied that those women exist in his fantasy for sexual reasons, it's important to note that, in the scene, they only care for him as he was cared for as a child (the bath, preparing food, etc). And of course, the women do revolt at the end, and the scene further shows him how he mistreat his wife. Also, it's another example of the great camerawork and blocking in the film.

I can also now clarify what I was saying in the voting thread.

If you pay attention, you'll notice that the film Guido is creating is 8 1/2 itself. The title actually refers to the fact that the film is Fellini's 8 1/2th project. In the beginning, the critic picks apart the dream sequence that starts the film, and he further critiques the movie as it goes on. Guido tells the priest early on that he plans on having the protagonist meet him while taking a mud bath in a spa, and that scene literally plays out later in the movie. Most obvious is when the casting videos are being watched.

Also, about Claudia's clothing. If you notice, you'll see she is wearing all white in the scenes when Guido envisions her. This, to me, shows how he's putting her on a pedestal as his muse. When the actress finally shows up during the casting videos, she's wearing all black. She then criticizes his work and plans on their car ride ("Because he doesn't know how to love"). Then at the end, all the characters appear in the great finale clad entirely in white. I see this as Guido accepting all these people as important to his life and his creativity. However, it could also be seen as a kind of afterlife. It's pretty open to interpretation, as the best movies are.

All in all, it's a great movie to me. La Dolce Vita has a similar style minus the surreal elements and is another Fellini movie people should check out at least once.