The Voice of the Moon – Arrow Academy (Blu-ray)

Theatrical Release Date: Italy/France, 1990
Director: Federico Fellini
Writers: Ermanno Cavazzoni, Federico Fellini, Tullio Pinelli
Cast: Roberto Benigni, Paolo Villaggio, Nadia Ottaviani, Marisa Tomasi, Angelo Orlando

Release Date: October 30th, 2017 (UK), October 31st, 2017 (USA)
Approximate Running Time: 120 Minutes 49 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Italian
Subtitles: English
Region Coding: Region A,B
Retail Price: OOP

"Adapted from a novel by Ermano Cavazzoni, The Voice of the Moon concerns itself with Ivo Salvini (Roberto Benigni, Life Is Beautiful), recently released from a mental hospital and in love with Aldini (Nadia Ottaviani). As he attempts to win her heart, he wanders a strange, dreamlike landscape and encounters various oddball characters, including Gonnella (Paolo Villagio, Fantozzi), a paranoid old man prone to conspiracy theories." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "The Voice of the Moon (La voce della luna) has been exclusively restored by Arrow Films and is presented in its original aspect ratio of 1.66:1 with Italian mono audio.

All restoration work was carried out at L'Immagine Ritrovata, Bologna. The original 35mm camera negative was scanned in 2K resolution on a pin- registered Arriscan and was graded on Digital Vision's Nucoda Film Master.

Thousands of instances of dirt, debris, scratches and other instances of film wear were repaired or removed through a combination of digital restoration tools and techniques. Image stability was also improved."

The Voice of the Moon comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.4 GB

Feature: 30.2 GB

The source looks excellent; flesh tones are healthy, colors look correct, image clarity, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Italian with removable English subtitles. The audio is in great shape; dialog comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include an image gallery titled Felliniana Archive Gallery (50 images - stills/lobby cards/posters/soundtrack art), an archival documentary titled Towards the Moon with Fellini (58 minutes 7 seconds, LPCM mono Italian with non-removable English subtitles), reversible cover art, and a 24-page booklet (limited to the first pressing) with cast & crew information, an essay titled Fellini’s Swansong written by Pasquale Iannone and information about the restoration. 

Included is a DVD that has the same content as the Blu-ray.

Summary:

A man, recently released from a mental hospital, wanders through a dreamlike landscape inhabited by eccentric characters. 

When one discusses postwar Italian cinema and beyond, no director has left a more undeniable mark than Federico Fellini. He would create a body of work unlike anything that has come before or since. Where it had become all too common in Italian cinema for directors to gravitate to whatever genre was popular at the time, he would maintain a singular vision that he never wavered from.

Content-wise, The Voice of the Moon features many of the themes synonymous with the cinema of Federico Fellini. Most notably religion, voyeurism, and madness. The Voice of the Moon is another exemplary example of Federico Fellini’s dreamscapes that overflow with creativity. That said, throughout his career, Federico Fellini was a filmmaker who adapted well to Italian cinema’s shrinking budgets.

Performance-wise, the cast is all great in their roles, especially Roberto Benigni’s (Life Is Beautiful) portrayal of Ivo Salvini, a man recently released from a mental hospital. He delivers a whimsy that perfectly captures his character's state of mind. Another performance of note is Paolo Villaggio’s (Dr. Jekyll Likes Them Hot) portrayal of Gonnella, an ex-prefect fired because of paranoia.

From a production standpoint, The Voice of the Moon is a film where everything falls into place. The premise is superbly realized, the narrative is well-constructed and perfectly paced, and everything builds to a satisfying conclusion. Music has always played a significant role in the cinema of Federico Fellini, and though Nicola Piovani (The Perfume of the Lady in Black) delivers a superlative score, the use of Michael Jackson’s The Way You Make Me Feel is the most memorable moment musically. The Voice of the Moon’s striking visuals, which emphasize artificiality, are its greatest asset. Ultimately, The Voice of the Moon is an extremely satisfying swan song to one of cinema’s greatest auteurs.

Arrow Academy gives The Voice of the Moon a first-rate release that comes with a solid audio/video presentation and a pair of informative extras, highly recommended.

Written by Michael Den Boer

Orchestra Rehearsal – Arrow Academy (Blu-ray)

Theatrical Release Date: Italy, 1978
Director: Federico Fellini
Writers: Federico Fellini, Brunello Rondi
Cast: Balduin Baas, Clara Colosimo, Elizabeth Labi, Ronaldo Bonacchi, Ferdinando Villella, Franco Javarone

Release Date: February 12th, 2018 (UK), February 13th, 2018 (USA)
Approximate Running Time: 72 Minutes 12 Seconds
Aspect Ratio: 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: PG (UK), NR (USA)
Sound: LPCM Mono Italian
Subtitles: English
Region Coding: Region A,B
Retail Price: OOP

"An allegorical pseudo-documentary, the film depicts an Italian television crew’s visit to a dilapidated auditorium (a converted 13th-century church) to meet an orchestra assembling to rehearse under the instruction of a tyrannical conductor. The TV crew interviews the various musicians who each speak lovingly about their chosen instruments. However, as petty squabbles break out amid the different factions of the ensemble, and the conductor berates his musicians, the meeting descends into anarchy and vandalism. A destructive crescendo ensues before the musicians regroup and play together once more in perfect harmony." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "Orchestra Rehearsal was exclusively restored by Arrow Films and is presented in the 1.78:1 aspect ratio with mono sound.

The original 35mm camera negative was scanned in 2K resolution by RAI. The film was graded and restored on the Nucoda grading system at R3store Studios, London. Thousands of instances of dirt, debris, scratches and other instances of film wear were repaired or removed through a combination of digital restoration tools and techniques. Some instance of minor damage remain, in keeping with the condition of the original materials."

Orchestra Rehearsal comes on a 50 GB dual layer Blu-ray.

Disc Size: 27.6 GB

Feature: 16.7 GB

The source is in great shape; flesh tones look healthy, colors look correct, image clarity and black levels are strong, compression is solid, and the image retains an organic look.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Italian with removable English subtitles. The audio sounds clean, clear, and balanced, and the score sounds appropriately robust.

Extras:

Extras for this release include an image gallery titled Felliniana Archive Gallery (27- images stills/lobby cards/posters/soundtrack art), a video essay by Fellini biographer John Baxter titled Orchestrating Discord (20 minutes 43 seconds, LPCM mono English with non-removable English subtitles for Italian film clips), an interview film scholar Richard Dyer titled Orchestrating Discord, he discusses Nino Rota and Orchestra Rehearsal (23 minutes 10 seconds, LPCM mono English with non-removable English subtitles for Italian film clips), reversible cover art, and a 24-page booklet (limited to the first pressing) with an essay titled In a Nutshell written by Adrian Martin, an essay titled Orchestra Rehearsal: In the Picture written by Tony Mitchell and information about the restoration.

Summary:

A television crew documents an orchestra revolting during a rehearsal.

Orchestra Rehearsal, like an earlier Federico Fellini film, The Clowns, is a quasi-documentary. Though simplistic, Orchestra Rehearsal is filled with cinematic flourishes that are undeniably Federico Fellini. In the hands of any other director, a film about orchestra rehearsal and revolting would not be as enthralling.

The opening setup revolves around the musicians discussing their instruments. The middle section of the film shifts the focus to the musicians and their revolt. And the final act provides a very satisfying conclusion to the events that have just unfolded.

Orchestra Rehearsal, by the way of music, uses the orchestra as a metaphor about society. Everyone must work together for a singular goal to achieve harmony. And anarchy reigns supreme when individuality becomes each character’s focus.

From a production standpoint, Orchestra Rehearsal is a film that far exceeds the sum of its parts. Its premise is superbly realized, and there is a deliberate momentum to the events that unfold. The visuals and Nino Rota's exemplary score perfectly fuse. Orchestra Rehearsal is also notable for being Nino Rota's final collaboration with Federico Fellini. Ultimately, Orchestra Rehearsal, Federico Fellini’s most politically overt film, is overflowing with social commentary.

Arrow Academy gives Orchestra Rehearsal a first-rate release that comes with a strong audio/video presentation and a trio of informative extras, highly recommended.

Written by Michael Den Boer

Fellini's Casanova – Kino Lorber (Blu-ray)

Theatrical Release Date: Italy, 1976
Director: Federico Fellini
Writers: Giacomo Casanova, Federico Fellini, Bernardino Zapponi
Cast: Donald Sutherland, Tina Aumont, Chesty Morgan, Dudley Sutton, John Karlsen, Reggie Nalder, Elisa Mainardi, Mary Marquet

Release Date: December 8th, 2020
Approximate Running Time: 155 Minutes 15 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: R
Sound: DTS-HD Mono English, DTS-HD Mono Italian
Subtitles: English SDH
Region Coding: Region A
Retail Price: $29.95

"The incomparable Federico Fellini (La Dolce Vita) directs this visually stunning portrait of Casanova, the infamous Italian womanizer, adventurer, author and libertine. In a remarkable performance, Donald Sutherland (MASH) portrays the great seducer not as an amorous anomaly, but an everyday man living in extraordinary times. Featuring dazzling European settings (although it was filmed entirely in Rome), an unforgettable musical score by Nino Rota (The Godfather), and Academy Award®-winning costumes, Fellini's Casanova is a cinematic experience to fall in love with." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, “New 4K restoration!", "Restoration of Fellini’s Casanova (Federico Fellini, 1976) completed in 2019 by Centro Sperimentale di Cinematografia – Cineteca Nazionale and Istituto Luce – Cinecittà at the Istituto Luce – Cinecittà laboratories from the original 35mm picture negative made available by Alberto Grimaldi Productions and from a positive track printed from the optical soundtrack negative.nSound Restoration supervision by Federico Savina.”

Fellini's Casanova comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.6 GB

Feature: 42.7 GB

The source looks great; it is a marked improvement over its previous home media releases. Flesh tones look healthy, colors look correct, image clarity and black levels are strong, and compression is very good. Though grain is present, it looks thicker in darker moments.

Audio: 5/5 (DTS-HD Mono English, DTS-HD Mono Italian)

This release comes with two options, a DTS-HD mono mix in English and a DTS-HD mono mix in Italian. Fellini’s Casanova was Federico Fellini’s first English-language film. The English language track is in excellent shape; dialog always comes through clearly, everything sounds balanced, ambient sounds are well-represented, and Nino Rota’s score sounds appropriately robust. The Italian language track is in great shape; dialog comes through clearly, and everything sounds balanced. This release comes with two subtitle options: English SDH for the English language track and English SDH for the Italian language track. That said, English SDH for the English language track only translates spoken English, while English SDH for the Italian language translates all spoken dialog.

Extras:

Extras for this release include a theatrical trailer (2 minutes 54 seconds, DTS-HD mono English, no subtitles), an audio commentary by film critic Nick Pinkerton, and a 12-page booklet with an essay titled Fellini’s Cinematic Music Box written by Alberto Zambenedetti, cast & crew credits and information about the transfer.

Summary:

Due to his inability to gain affection from the only woman he ever truly loved, a man becomes obsessed with discovering the real meaning of love.

Federico Fellini adapted the screenplay for Casanova from the biography of Giacomo Casanova, an 18th-century writer whose main course of study was pleasure-seeking. Other film adaptations often romanticize Giacomo Casanova's sexual adventures and pursuit of pleasure. Federico Fellini’s version of Casanova depicts a more sympathetic character whose exploits often undermine his quest for pleasure. When it comes to sexual acts in Fellini's Casanova, they are devoid of sensuality because of their focus on the mechanical aspects of the act. Another way Fellini's Casanova sets itself apart is its lack of emotion that comes forth from its characters, most notably its protagonist, Casanova.

As mentioned before, the way that Fellini's Casanova depicts sex is unconventional. Each new sexual conquest is more bizarre than the last one. Casanova's prowess is exemplified by a scene where he's invited to a party and asked to prove his endurance in front of everyone. His competition is a young man from a lower class. In the end, Casanova’s more methodical thrust defeats his competitors’ caveman approach to sexual intercourse.

Perhaps the most compelling aspect of this film is the casting of Donald Sutherland (Don’t Look Now) in the role of the Casanova. The original producer, Dino De Laurentiis, reportedly wanted Robert Redford in the role of Casanova, and when Federico Fellini refused to comply, he left the project. Federico Fellini asked Donald Sutherland to wear a prosthetic nose and chin, shave off the front of his hair, and further immerse himself in the role. That said, he delivers a pitch-perfect performance that easily ranks among his best work as an actor. The cast features several recognizable faces like Tina Aumont (Torso), John Karlsen (Footprints), and Reggie Nalder (Mark of the Devil).

From a production standpoint, Fellini's Casanova has everything anyone would want or expect from a Federico Fellini film. And at the forefront of this mise en scène of excess is a highly stylized universe that could have only come from the mind of Federico Fellini. There are nuns, dwarves, a giant arm-wrestling princess, a hunchbacked nympho, and mechanical dolls. These are just a handful of the characters that populate Fellini's Casanova.

When discussing Fellini's Casanova one must not overlook or undervalue its deliberate look. Not only are the visuals which are overflowing with surrealism, but also in its emphasis on artificiality when it comes to set design. Though there are many outstanding moments visually, nothing resonates stronger than the finale, which serves as a perfect coda. Ultimately, Fellini's Casanova is an extraordinary cinema experience that fans of excess and surrealism should thoroughly enjoy.

Kino Lorber gives Fellini's Casanova a first-rate release that comes with a strong audio/video presentation and a pair of informative extras, highly recommended.

Written by Michael Den Boer

The Clowns – Raro Video (Blu-ray)

Theatrical Release Date: Italy/France/West Germany, 1970
Director: Federico Fellini
Writers: Federico Fellini, Bernardino Zapponi
Cast: Gigi Reder, Fanfulla, Nino Terzo, Nino Vingelli, Charlie Rivel, Pierre Étaix, Annie Fratellini, Jean-Baptiste Thiérrée, Liana Orfei, Anita Ekberg, Federico Fellini, Maria Grazia Buccella, Victoria Chaplin

Release Date: October 18th, 2011
Approximate Running Time: 91 Minutes 51 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: G
Sound: DTS-HD Mono Italian, DTS-HD 5.1 Italian
Subtitles: English
Region Coding: Region Free
Retail Price: OOP

"Fellini’s fascination with the circus and the surreal come to a head in one of his final masterpieces, The Clowns. The film reflects Fellini’s childhood obsession with clowns and begins with a young boy watching a circus set up from his bedroom window. Though comical and referred to as a “docu-comedy”, this film explores deeper human conditions such as authority, poverty, humility and arrogance, all of which manifest themselves through the characters of the clowns who vary from the local sex-crazed hobo, a midget nun, to a mutilated Mussolini disciple." - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about this release's transfer, "New HD transfer from 35mm negative."

The Clowns comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.1 GB

Feature: 19.8 GB

The source is in great shape; flesh tones look healthy, color saturation and image clarity are solid, compression is very good, and there are no issues with digital noise reduction.

Audio: 3.5/5 (DTS-HD Mono Italian), 3/5 (DTS-HD 5.1 Italian)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD 5.1 mix in Italian. Range-wise, both audio tracks are limited, despite sounding clear and balanced. Also, the newly created 5.1 audio track is not that much fuller than the mono track. Included are removable English subtitles for the Italian language tracks.

Extras:

Extras for this release include a making of video essay titled Fellini’s Circus (42 minutes 24 seconds, DTS-HD stereo Italian with removable English subtitles), a short film also directed by Federico Fellini titled Marriage Agency, this is one of six segments from the anthology film Love in the City (16 minutes 38 seconds, 1.37:1 aspect ratio, DTS-HD mono Italian with removable English subtitles), a slipcase, and a 50-page booklet with Federico Fellini memories about making The Clowns titled A Journey into the Shadow, script pages, production drawings, cast & crew information for The Clowns and Marriage Agency, and Federico Fellini filmography.

Summary:

Federico Fellini had firmly established himself as one of the premier filmmakers in the world by the early 1960s. After the one-two punch of La Dolce Vita and 8 ½, he would find it difficult to duplicate their success. The most transitional period of his career was the latter half of the 1960s. In 1965 he would direct his first color feature film, Juliette of the Spirits. His only previous foray with color was via his segment for the 1962 anthology film Boccaccio ’70. The other two projects from this era include the vastly underrated Satyricon and the Toby Dammit segment from Spirits of the Dead. Many regard Toby Dammit as his greatest achievement as a filmmaker.

The Clowns is a 1970 made-for-television program that director Federico Fellini made for RAI (Radiotelevisione Italiana). The Clowns originally aired in black and white. The Clowns would finally make its debut in color when it was released theatrically. The Clowns made its debut in color when it was released theatrically. The Clowns is cinematographer Dario Di Palma’s (Death Laid an Egg) only collaboration with Federico Fellini. Two frequent Federico Fellini collaborators worked on The Clowns: editor Ruggero Mastroianni and composer Nino Rota.

The Clowns is a celebration of circus clowns, in which Federico Fellini explores his childhood obsession. And though The Clowns is a quasi-documentary, it's a film that blurs the line between fantasy and reality. The narrative is filled with stories of world-renowned clowns. Federico Fellini is known for extravagant films that are overflowing with surrealism, while The Clowns is a more intimate affair that's on the other end of the spectrum. Ultimately, Federico Fellini’s enthusiasm for clowns makes The Clowns a thoroughly enjoyable experience.

Raro Video gives The Clowns a first-rate release that comes with a strong audio/video presentation and a pair of informative extras, highly recommended.

Written by Michael Den Boer

8½ – The Criterion Collection (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy/France, 1963
Director: Federico Fellini
Writers: Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi
Cast: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée, Sandra Milo, Rossella Falk, Barbara Steele, Madeleine Lebeau, Caterina Boratto, Eddra Gale

Release Date: December 10th, 2024
Approximate Running Time: 139 Minutes 27 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265
Rating: NR
Sound: LPCM Mono Italian
Subtitles: English
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $49.95

"Marcello Mastroianni plays Guido Anselmi, a director whose new project is collapsing around him, along with his life." - synopsis provided by the distributor

Video: 5/5 (4k UHD), 4.25/5 (Blu-ray)

Here’s the information provided about this release's transfer, "Completed by Cinecitta S.p.A. and Centro Cperimentale di Cinematographia--Cineteca Nazionale for the Fellini 100 Project, this new 4K restoration was created from the 35mm original camera negative, which was made available by RTI-Mediaset and Infinity."

8½ comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.9 GB

Feature: 60.3 GB

This new transfer is a solid upgrade over Criterion's 2010 Blu-ray release. The source looks excellent; image clarity, contrast, black levels, and compression are solid, and the image always looks organic.

8½ comes on a 50 GB dual layer Blu-ray.

Disc Size: 45 GB

Feature: 24 GB

The Blu-ray uses the same master that Criterion used for their Fellini box set.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in Italian with removable English subtitles. Also, there are some dialog exchanges in English. This audio track sounds excellent; dialog always comes through clearly, and everything sounds balanced and robust when it should. Included are removable English subtitles for Italian dialog.

Extras:

Extras the 4K UHD disc include an archival audio commentary with film critics Gideon Bachmann and Antonio Monda.

Extras on the Blu-ray disc include a stills gallery (96 images), rare photographs from Gideon Bachmann’s collection (15 images), U.S. theatrical trailer (3 minutes 9 seconds, Dolby Digital mono with English text, no subtitles), an archival introduction by filmmaker Terry Gilliam (7 minutes 30 seconds, Dolby Digital mono English, no subtitles), an archival documentary on Fellini’s lost alternate ending for 8½ titled The Last Sequence (50 minutes 24 seconds, Dolby Digital mono Italian with removable English subtitles),  an archival documentary about Federico Fellini’s longtime composer titled Nino Rota: Between Cinema and Concert (47 minutes 28 seconds, Dolby Digital mono German and Italian with removable English subtitles), an archival interview with actress Sandra Milo (26 minutes 37 seconds, Dolby Digital mono Italian with removable English subtitles), an archival interview with filmmaker Lina Wertmuller (17 minutes 28 seconds, Dolby Digital mono Italian with removable English subtitles), an archival interview with cinematographer Vittorio Storaro (17 minutes 24 seconds, Dolby Digital mono English, no subtitles), a short film directed by Federico Fellini titled Fellini: A Director's Notebook (51 minutes 16 seconds, Dolby Digital mono English, no subtitles), Federico Fellini’s letter sent to producer Peter Goldfrab outlining Fellini: A Director's Notebook, and   an archival audio commentary with Gideon Bachmann and Antonio Monda.

Other extras include a leaflet with an essay titled The Beautiful Confusion written by Stephanie Zacharek, and information about the transfer.

Summary:

8 ½ is an unfiltered view of the filmmaking process, its triumphs, and its failures. 8 ½ is also an exploration of the role that real life plays in the filmmaking process and how life often imitates art. The narrative revolves around a director named Guido as he navigates his professional and personal lives while trying to make his latest film. Filled with self-doubt, Guido searches for the answers by looking to the past and examining the present.

From its opening moments, it's clear that 8 ½ is a film where anything can happen. Reality and fantasy intermingle, and there’s no regard for time. Guido's insecurities shine through in moments of reality, but it is in moments of fantasy that 8 ½ is most captivating. Though there are many moments that stand out, the fantasy sequence where Guido interacts with women from his life is the most memorable. At one point during this sequence, when the women are not obeying his commands, Guido gets out a whip and acts like a bullfighter. This subconscious moment reveals so much about Guido, and it makes his journey all the more potent.

Though cinema has had countless director/actor collaborations, few have reached the heights of Federico Fellini and Marcello Mastroianni. Federico Fellini's experiences inspired the film "8 ½," and the protagonist, Guido, is a fictionalized version of himself. When it comes to performances, one would be hard-pressed to name a film where Marcello Mastroianni did not deliver an exemplary performance. Marcello Mastroianni is outstanding in the role of Guido; he delivers a flawless performance that effortlessly captures his character's highs and lows.

8 ½ has an extraordinary cast filled with recognizable faces like Claudia Cardinale (who portrays herself), Anouk Aimée, who portrays Guido’s wife, and Sandra Milo, who portrays Guido’s mistress. In the case of the latter, she delivers a scene-stealing performance in the role of the other woman. Another performance of note is Barbara Steele (Black Sunday), who portrays one of the wives of one of Guido’s friends. Also, Federico Fellini had a knack for casting people with interesting faces, and in this area 8 ½ delivers in spades.

Another key contributor to the cinema of Federico Fellini is composer Nino Rota, who collaborated with him on 17 films. With 8 ½ Nino Rota delivers a remarkable score in which he uses many familiar pieces of music from other composers. That said, the score also features many original music cues written by Nino Rota that capture the circus atmosphere of 8 ½. From the moment that music appears, sight and sound create a perfect fusion.

Though Federico Fellini films are known for their visuals, which often contain striking and symbolic imagery, 8 ½ really marks a turning point for him as a filmmaker. Federico Fellini's earlier films were grounded in reality, but from 8 ½ onward, his films became more fanciful. Also, 8 ½ would be Federico Fellini's last film shot in black and white before transitioning to color. Shooting a film like 8 ½ in color would have significantly altered it; some films were meant to be shot in black and white.

Though the narrative is essentially a series of loosely connected vignettes, it is surprisingly coherent and never difficult to grasp. At 139 minutes in length, pacing is never an issue, as things move briskly from one enthralling moment to the next. Appropriately, everything culminates with a circus-like finale where all the characters gather and dance in a circle until the lights go out. Throughout his career, Federico Fellini made several films that deserve their status as masterpieces; 8 ½, Federico Fellini’s celebration of the filmmaking process, is one of these films.

8 ½ makes its way to 4K UHD via an exceptional release from The Criterion Collection, highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

Boccaccio '70 – Cult Films (Blu-ray)

Theatrical Release Date: Italy, 1962
Directors: Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti
Writers: Giovanni Arpino, Italo Calvino, Suso Cecchi d’Amico, Federico Fellini, Ennio Flaiano, Mario Monicelli, Goffredo Parise, Tullio Pinelli, Brunello Rondi, Luchino Visconti, Cesare Zavattini
Cast: Marisa Solinas, Germano Gilioli, Anita Ekberg, Peppino De Filippo, Romy Schneider, Tomas Milian, Romolo Valli, Sophia Loren, Luigi Giuliani, Alfio Vita

Release Date: June 26th, 2017
Approximate running time: 3 Hours 23 Minutes 55 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English
Region Coding: Region B
Retail Price: £12.50 (UK)

"A sensuous pin up on a gigantic poster comes to life to haunt a puritan, a married woman finds a way of dealing with her husband’s passion for gambling and call-girls, a sacristan wins a night with a beautiful fairground woman in a village lottery and a married couple’s mishap enables them to buy their own house." - synopsis provided by the distributor

Video: 4.25/5

Boccaccio '70 comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.3 GB

Feature: 38 GB

No information is provided about the source. It appears that this transfer uses the source that Kino Lorber used for their 2011 Blu-ray release. That said, the source is in great shape, and any source debris is very minor. Flesh tones look correct, colors are nicely saturated, image clarity and black levels are strong, and there are no compression-related issues. When compared to Kino Lorber’s Blu-ray’s transfer, though there are many areas where this transfer is comparable, I would still give a slight edge to Cult Films transfer.

Audio: 4.25/5 (LPCM Mono Italian, LPCM Mono English)

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. It should be noted that the English language track is for all the segments except Renzo and Luciana; this segment is only in Italian. Both audio tracks are in great shape. Dialog comes through clearly, and everything sounds balanced. Range-wise, both tracks sound very good. Included are removable English subtitles for the English language track and a second removable English subtitle track for the Renzo and Luciana segments when watching with the English language track.

Extras:

Extras for this release include reversible cover art, and a documentary titled Sophia Loren: Yesterday, Today and Tomorrow (54 minutes 3 seconds, LPCM stereo Italian and English with removable English subtitles).

Other extras include trailers for Django, Keoma, A Bullet for the General, Salon Kitty, Suspiria, La Dolce Vita, 8 ½, Sunflower, Battle of Algiers, Umberto D. and Massacre in Rome.

Summary:

Boccaccio ’70 is the brainchild of Italian producer Carlo Ponti (Sophia Loren’s husband) and independent U.S. producer Joseph E. Levine, who released many Italian sword and sandal films, including Hercules, in America. The four stories contained in Boccaccio ’70 are loosely based on and inspired by a book written by Giovanni Boccaccio, the author of The Decameron.

Segment #1, ‘The Temptation of Doctor Antonio’

Doctor Antonio (Peppino De Filippo) is only interested in the purists’ things in life, and he will stop at nothing to eradicate the world of perverse temptations that corrupt mankind. While attending a Boy Scout award ceremony, which is interrupted when a construction crew puts up a billboard of a voluptuous Anita Ekberg across the street from where he lives, Doctor Antonio thus starts his crusade against this indecent billboard as he tries to persuade the public and the local government to take it down. After some persuasion, the billboard is finally covered up, but the problem doesn’t end for Doctor Antonio. The woman on the billboard isn’t willing to give up without a fight, as she tauntingly calls to Doctor Antonio before ultimately coming to life.

The opening moments of The Temptation of Doctor Antonio are undeniable Fellini as he shows Rome all of her beauty, and he fills the background with some of the most interesting faces. Anita Ekberg is charming, as she is essentially playing the same character she played in La Dolce Vita. The real star of the show is Peppino De Filippo, whose brilliant performance as Doctor Antonio steals every scene he is in. He never fully goes over the top in his performance event, though at times he is teetering on the end of insanity.

Nino Rota’s exuberant score perfectly complements Fellini’s imagery. This film is filled with many images and themes that Fellini would go on to explore in his later films, like making the unbelievable believable. The Temptation of Doctor Antonio was the first time Fellini used color in a film. His vivid captures tones and textures that heighten films dreams like tapestries. The Temptation of Doctor Antonio is a playful farce that has all the trademarks we have come to expect from the cinema of Federico Fellini.

Segment #2, ‘The Job’

Conte Ottavio (Tomas Milian) returns from his trip-filled debauchery only to find out that all the tabloids have caught him red-handed. Upon his arrival, all of the lawyers are waiting for him so that they can form a plan to combat this bad publicity. His wife, Pupe (Romy Schneider), has been missing since yesterday afternoon, when she left the house for her appointment at the hairdresser. Ottavio and his lawyers search frantically for his lost wife, and just as they are about to call the police, one of the servants announces that she is resting in her room. Will Ottavio be able to save his marriage, or has he lost her forever?

Luchino Visconti early on establishes his reality through his lush set and his eye for details. Like many of his other films, The Job is filled with decadent behavior that ultimately leads to one's downfall. Romy Schneider and Tomas Milian are wonderful together as the decaying couple, as they perfectly capture the essence of their characters. The main theme that runs through the film is a marriage without love and more for convenience. Ottavio’s infidelity would have been the breaking point in the marriage if his wife cared more about his mistreatment. She is more concerned with getting a job and gaining independence that neither her father nor Ottavio could ever give her. Nina Rota's sexy score adds to Pupe’s melancholy state of mind, which ultimately makes her the most vulnerable character in the film. Ultimately, The Job is a fascinating look into relationships bent on self-destruction.

Segment #3, ‘The Raffle’

Zoe (Sophia Loren) is a voluptuous woman who works at a shooting gallery at the local carnival. Her sister Vilma is pregnant, and she might lose her shooting gallery booth if she doesn’t pay the government the back taxes she owes. The two sisters and Vilma’s husband concoct a plan to run a raffle where the winner gets to spend one night with Zoe. The horny townsmen buy tickets at a record speed for a chance to keep a piece of the lovely Zoe. While working at the shooting gallery one day, Zoe meets a young man whom she falls for, which could lead to her not fulfilling her end of the raffle.

The Raffle is a star vehicle for Sophia Loren that exploits to the fullest her ample assets. Vittorio De Sica, who has worked with Loren many times, gets another wonderful performance out of her. His direction is low-key and, at times, subdued when compared to the other director’s work contained in Boccaccio ’70. The main focus of this segment is Zoe’s choice of helping her sister or following her feelings for the young man she has fallen for. This segment also offers the most comic relief of the four, with most of the laughs coming at the expense of the townsmen as they buy tickets for the raffle and then try to bribe the winning ticket holder. Ultimately, The Raffle is a lighthearted piece about sacrifice and finding true love.

Segment #4, ‘Renzo and Luciana’

Renzo (Germano Gilioli) and Luciana (Marisa Solinas) are two young lovers who work at a factory together. They are madly in love with each other and want to get married. There is one problem: Luciana’s job as a secretary prevents her from getting married, or she will be fired. So the two, one day after leaving work, decide to secretly get married. Luciana’s lecherous boss is constantly making unwanted advances towards her, which only makes Renzo jealous, putting a strain on their marriage. How far will Renzo and Luciana go to hide their marriage, and will it, in the end, destroy their love for each other?

The main focus of this segment is the ups and downs of marriage. The actor who plays Luciana’s boss is delightfully sleazy, especially during a scene at a swimming pool where he proudly parades around in a Speedo. The dynamics of their relationship are also tested outside of work because they are forced to live with Luciana’s parents and siblings, leading to yet another place where they can’t find time to be alone. Mario Monicelli’s direction is solid, and the film's pacing is perfectly arched, giving all the characters room to grow. Ultimately, the two leads give nicely balanced performances that are offset by some of the supporting cast's more flamboyant performances.

Ultimately, Boccaccio '70 is a solid example of Commedia all'italiana.

Boccaccio '70 gets a first-rate release from Cult Films that comes with a strong audio/video presentation and two excellent documentaries, recommended.

 Written by Michael Den Boer