A director who will seriously think about his creative impulses can definitely be called a person who is responsible and serious about art - we know that Guido's prototype is Fellini himself, and he deserves it. And he also encountered similar problems in the process of shooting this film.
The director's creative impulse should be a bullet with the author's own life experience, with the script as the barrel and the actors as the gunpowder, and the trigger is pulled by the thoughts and desires. If it can hit the audience's bullseye, the sparks will To be shared, sublimated, resonated, until the spark ignites a prairie fire, changes from individual impulses to the impulses of the crowd - this is probably the case for successful films. In the film, Guido's obstacle is not that his artistic level is not enough to hit the bull's-eye, but when he chooses which target to shoot at the audience's heart, he finds out that the target he really wants to hit is not. exists - or is not allowed to exist.
Let's take a look at Guido's life. He is separated from many women. He loves his wife, but he can't do without his lover. The stars are angels who redeem the soul. He can't make choices in reality, so he can't choose his own impulses in the creation of his own life experience, naturally, not to mention writing the plot and choosing actors. In the play, his hesitation runs throughout. If you choose a wife, it can be a family ethics drama; if you choose a lover, it may be a romantic drama; if you choose a friend's girlfriend, it may be a drama about social problems; if you choose the angel, you can still make a movie Pioneering works with the symbolism of Ibsen's later years. Yes, these are all things that Guido, a director who has been praised for his fame, should do, but who has asked what Guido thinks as an ordinary person? What kind of movie could be made of those sensual, sadistic, and chauvinistic thoughts in his mind? Is it Cult? Or the "Guinea Pig Series"?
Various ideologies will bring various shackles called "artistic pursuit" to many creators including editors, directors, and performers, and at the same time, they will also lead the audience to an obligation and habit of "appreciation responsibility". inside. A good movie has to inspire, reveal, or at least feel and entertain. This is obviously a rule within a large range of reason, even if it is "humanistic care", it seems to have a premise. The director's creative impulse is something completely different. In addition to rational thinking, there are more irrational things - if it is a real personal life experience, then this is often the subject, because life is such a mess The vast wilderness. So the director's job is to start from "originating from life" and present it in "higher than life". All good directors are the most honest and the most liars, because otherwise, they would not be able to achieve the "paradoxical" aesthetic realm in theatrical art and find an organic position in the vast wilderness and spiritual pursuit.
Guido's repressed and serious Catholic school and plump showgirls in his childhood are the best hints of the duality in the director's creative impulse. Guido accepted the punishment from the Catholic school, but he didn't stop looking for the dancer in the past, which was also doomed that he must conflict with the rational rules of creation in the creation process of the last play. As a result, Guido's play could not go on, and only the play of ending his own life was left to end; while Fellini's play used this to beat the bulls across the mountain, exposing the audience's hidden target. And slammed it hard.
At least, Guido is sincere, not as hypocritical as an actress in the film, nor as aggressive as some domestic directors. He has already removed his own life from the creative impulse and replaced it with the audience's pocket. banknotes.
Maybe because of the too real inner expression, the outer form is not a stream of consciousness. Fellini, the majestic editing, the long shot of natural rhythm, the linear stream of consciousness, complex but not chaotic. More importantly, he was one of the few people who tried to be an alternative director who did not lie in the past - a child - thus, the era achieved the new realism myth of "only imitated, never surpassed".
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