Uninvited, visions of his past start visiting him as well as his dreams. For renewal, he decides to go to a spa where he’s followed by his cadre of reporters, producers, writers, friends and his lover Carla. “I don’t have nothing to say, but I still want to say it anyway,” exclaims Guido.
It’s his film producers and they drag him back to earth. He feels a tug on his ankle and sees a rope bringing him down.
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He attempts to get out of the car and after a struggle he breaks free – and starts to levitate – floating out of the tunnel into the sky – floating among the clouds. His car stars to be filled with smoke and he’s asphyxiating. He sees that every person in every car around him is looking at him with expectation. In one of the most spectacular openings in history – we see the director in a traffic jam inside a tunnel. He’s sold everyone on a vague, science-fiction plot about a spacecraft launch being Noah’s Ark after a nuclear holocaust.
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The film revolves around 43 year-old Guido, a famous movie director who has agreed to make his next movie, gotten contracts signed, sets built, even has one famous actress waiting to star in it – but there’s a caveat – he doesn’t have a script and he’s experiencing writer’s block. I like dressing like him – black suit, white shirt, a tie and striking eyewear.
Guido Anselmi is my most beloved character in cinema. I have devoured his filmography ever since. On top of that, Fellini was also exploring psychology, and the film itself becomes an individuation process in which the main character liberates himself from the compromise between the individual and society’s expectations as to what he should be doing as an artist. And here was a director articulating this in a film. How we synthesize it all is the way cinema works. The past, the present and the conditional. I understood that film could capture the way our brain is able to blend in fantasy – and memory and our everyday reality. Prior to it, I loved cinema, but here was a quantum leap. I recall sitting in the Bleecker Street Cinema – in total disbelief of what I was seeing unspool on the screen. It has remained in that position since I saw it in NYC in 1979 – sixteen years after its release in 1963. A film that could help bury forever all those dead things we carry within ourselves.” I thought I had something so simple to say.
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