SKU: 37233341917

Yourdog Roemeense Herdershond Volwassen

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Description

Yourdog Roemeense Herdershond VolwassenYourdog Roemeense herdershond zorgt voor de holistische gezondheid en het welzijn van jouw hond. Alle Yourdog varianten bevatten smaakvolle buffel en kip. Wij combineren dit met zorgvuldig geselecteerde groenten, fruit en kruiden om zo te komen tot de perfecte voeding voor jouw Roemeense herdershond. Waarom Yourdog Roemeense herdershond Rijk aan buffel en gevogelte Speciaal gemaakt voor de Roemeense herdershond Bevat Goudsbloem, Tijm en Appel

Yourdog Roemeense herdershond zorgt voor de holistische gezondheid en het welzijn van jouw hond. Alle Yourdog varianten bevatten smaakvolle buffel en kip. Wij combineren dit met zorgvuldig geselecteerde groenten, fruit en kruiden om zo te komen tot de perfecte voeding voor jouw Roemeense herdershond.

Waarom Yourdog Roemeense herdershond

  • Rijk aan buffel en gevogelte
  • Speciaal gemaakt voor de Roemeense herdershond
  • Bevat Goudsbloem, Tijm en Appel
  • Bevordert een gezonde, glanzende vacht
  • Behoud een gezonde darmflora
  • Vrij van kunstmatige geur-, kleur- of smaakstoffen
  • Ook geschikt voor de gevoelige Roemeense herdershond

Onze ingrediënten

Voor het maken van ons voer wordt er voor een 12 kg-zak 10,6 kg vlees ingedroogd, zodat dit beter te verwerken is in onze brok. Met de juiste hoeveelheid groente, fruit en kruiden is Yourdog een gezonde, voedzame keuze voor de hond.

Buffel

Bij Yourdog gebruiken wij vlees van vrij opgegroeide en gras gevoerde buffels. Buffelvlees staat bekend om zijn romige, frisse smaak en rijke kleur en zit vol met vitaminen en mineralen. Met een lager cholesterol- en vetgehalte en minder calorieën zit dit malse vlees bomvol gezondheidsvoordelen.

Gevogelte

Bij Yourdog maken wij gebruik van eend, kip en kalkoen welke samen zorgen voor een heerlijke smaak en aroma van de brok. De hoog verteerbare eiwitten in het gevogelte zorgen voor een goede spieropbouw en zijn rijk aan vitaminen en mineralen.

Groente

Om de hond te voorzien van extra waardevolle voedingsstoffen zijn supergezonde groenten aan ons voer toegevoegd. Zo zijn groenten niet alleen voedzaam, maar hebben ze ook nog andere gezonde eigenschappen. De ruwe vezel in groenten is goed voor de darmen en kan onder andere bijdragen aan de spijsvertering.

Fruit

Wij voegen een unieke combinatie van fruit toe aan Yourdog, waardoor de hond alle essentiële, natuurlijke antioxidanten binnen krijgt. Zo kan fruit goed zijn voor het immuunsysteem van de hond, maar het kan ook bijdragen aan een frisse adem of het behouden van een gezonde spijsvertering. Deze natuurlijke ingrediënten bevorderen de gezondheid van de hond.

Kruiden

De gezonde kruiden die ons voer verrijken zijn afkomstig van planten uit Europa. Het gebruik van onder andere kruiden, wortels, bloemen, planten en wieren vindt zijn oorsprong al duizenden jaren terug. Deze ingrediënten ondersteunen de natuurlijke processen in het lichaam van de hond, zoals de spijsvertering. Ieder ingrediënt dat wij aan ons hondenvoer toevoegen is met zorg geselecteerd vanwege de positieve eigenschappen. Afhankelijk van de grootte van de hond, het ras of de rasgroep worden ingrediënten extra onder de aandacht gebracht. Rasspecifieke klachten kunnen worden verminderd door het gebruik van kruiden, wortels, bloemen en planten.

Roemeense herdershond specifieke groente, kruiden en fruit

Wij hebben zorgvuldig de raseigenschappen van de Roemeense herdershond onderzocht. Ook hebben we onderzoek gedaan naar de eigenschappen van de FCI-ras sectie en de FCI-rasgroep waar de Roemeense herdershond toe behoort. Uit deze onderzoeken zijn, in overleg met vooraanstaande Nederlandse voedingsdeskundige, ingrediënten geselecteerd die de gezondheid en het welzijn van de Roemeense herdershond optimaal ten goede komen.

Goudsbloem

De goudsbloem (calendula) is een plant die, net als de guldenroede, behoort tot de composietenfamilie. Calendula is een gecultiveerde bloem; hij wordt sinds jaar en dag om zijn diverse geneeskrachtige eigenschappen gebruikt. De oorspronkelijk calendulasoort stond waarschijnlijk in Azië en Oost-Europa, maar deze akkergoudsbloem komt in het wild nauwelijks meer voor. Goudsbloem is ook voor mensen een eetbare plant en is rijk aan voedingsstoffen.

Er is veel informatie te vinden over de positieve werking van calendula. Calendula kan door ons worden toegevoegd aan het hondenvoer omdat dit een positieve bijdrage zou kunnen leveren aan het voorkomen van rasspecifieke klachten in relatie tot de huid, mond, keel, spijsvertering, ogen en voeten. Vooral goed voor herstel van de huid en slijmvliezen, het werkt ontstekingsremmend en heeft een regenererende werking. Het kan ook krampen tijdens het verteringsproces voorkomen.

Calendula wordt voornamelijk als uitwendig verzorgingsproduct gebruikt voor onder andere schrammetjes of huidproblemen. Maar het kan ook inwendig gebruikt worden vanwege de regenererende eigenschappen.

Tijm

Tijm is een geslacht uit de lipbloemenfamilie. Het omvat kruidachtige of houtachtige planten met een zeer aromatische geur. Tijm is door de Grieken en Romeinen gebruikt als geneeskruid tegen longziekten, reumatiek, verlamming, maagkramp, gezwellen, hoofdpijn, koliek en zenuwzwakten.

De geneeskrachtige eigenschappen van tijm worden bevestigd door de hoge waarden aan vitamine K die het bevat. Daarnaast bevat tijm ook veel ijzer, maar ook de mineralen calcium en mangaan in. Het bevat ook het aminozuur tryptofaan en een aanmerkelijke hoeveelheid vezels.

Tijm werkt ontstekingsremmend en heeft een krachtige antibacteriële en schimmeldodende werking. Hiernaast stimuleert het de aanmaak van witte bloedlichaampjes en versterkt het het afweersysteem. Tijm is rijk aan antioxidanten en bestrijdt effectief vrije radicalen.

Bij Yourdog voegen wij tijm toe aan ons hondenvoer omdat het een positieve bijdrage zou kunnen leveren aan het voorkomen van rasspecifieke klachten in relatie tot reuma, verlamming, maag en zenuwen. Tijm is daarnaast ook een natuurlijke bacteriebestrijder.

Appel

De appelboom is een boom uit het geslacht Malus, waaraan de vooral op het noordelijk halfrond algemeen bekende handappels groeien. De appel groeit in de gematigde streken.

Voedingsvezels hebben een veelzijdige werking in het spijsverteringskanaal. Ze zijn in staat vocht te absorberen, waardoor de ontlasting zacht en soepel wordt. Tevens zorgen voedingsvezels voor een toename van het volume in de darmen. Dit stimuleert niet alleen de werking van de ingewanden, maar zorgt ook voor een grondige afvoer van afvalstoffen.

Appels zitten bomvol vitaminen, mineralen, antioxidanten en vezels. Hiernaast zijn appels rijk aan pectine. Pectine is een oplosbare vezel die bijdraagt aan het ondersteunen van een gezonde darmflora. Ook draagt het bij aan de smakelijkheid van de brokken en zijn appels laag in calorieën.

Rijk aan vitamine A en C. Vitamine A is goed voor de huid en vacht en versterkt het immuunsysteem. Vitamine C zorgt voor de ontwikkeling van spier en bot tijdens de jonge jaren.

Pup, volwassen of senior?

Om je te helpen bij het maken van de juiste keuze tussen onze varianten Roemeense herdershond hondenvoer kun je gebruik maken van de volgende richtlijnen. Is jouw Roemeense herdershond jonger dan 11 maanden, kies dan voor de Puppy variant. Voor een Roemeense herdershond ouder dan 7 jaar adviseren we de Yourdog Roemeense herdershond senior. Is jouw hond ouder dan 11 maanden en jonger dan 7 jaar, dan kun je de Adult variant kiezen.

Smakelijkheidsgarantie

Wij zijn overtuigd van de kwaliteit van onze voeding. Daarom geven wij op alle Yourdog verpakkingen een smakelijkheidsgarantie. Lijkt jouw Roemeense herdershond zijn Yourdog hondenvoer toch niet lekker te vinden, neem dan contact met ons op. Wij helpen je bij het analyseren van de problemen. Komen we er samen niet uit dan krijg je van ons het aankoopbedrag terug.

Voedingsadvies

Lichaamsgewicht (kg) Dagelijkse hoeveelheid (g)
20 - 40 315 - 525
40 - 60 525 - 750
> 60 11 g/kg lichaamsgewicht

Overstapadvies

Stap je over op Yourdog vanaf een ander voermerk dan adviseren wij de volgende stappen te volgen. Voor de eerste stap voer je 25% Yourdog en 75% van het oude hondenvoer. De hond kan hier gedurende twee dagen aan wennen. Vervolgens voer je 50% Yourdog en 50% van het oude hondenvoer. Het is belangrijk dat je de hond ook hier weer twee of drie dagen aan laat wennen. Daarna meng je 75% Yourdog en 25% van het oude hondenvoer. De hond is nu bijna helemaal over op Yourdog. Doe dit gedurende 2 dagen. Naar eigen inzicht kun je hierna 100% Yourdog Roemeense herdershond hondenvoer gaan voeren.

Bewaaradvies

Na het openen van de Yourdog verpakking wordt de voeding blootgesteld aan zuurstof, vocht en licht, wat de houdbaarheid en smaak kan beïnvloeden. Daarom is het belangrijk de voeding na het openen van de zak op een goede manier te bewaren, bij voorkeur in een luchtdichte bewaardoos of -ton op een droge, koele en donkere plaats. Het beste is om de voeding niet los in de ton te doen, maar deze met de hele zak, die je weer zo goed mogelijk dichtmaakt, in de ton te zetten.

Samenstelling

Maïs, gedroogde kip (22%), gerst, erwten, gedroogde buffel (3.5%), gevogeltevet, choline chloride, glucosamine, chondroitine, groentemix (met o.a. selderij), fruitmix (met o.a. appel), kruidenmix (met o.a. goudsbloem, tijm)

Analytische bestandsdelen

Ruw eiwit 24%, ruw vet 7%, ruwe celstof 4%, ruw as 5,8%, Calcium 1,4%, Fosfor 1,1%

Nutritionele waardes

Vitamine A 20.000 IE (E672), vitamine D3 1.400 IE (E671), vitamine E als all rac-alpha-tocopherylacetat (3a700) 500 mg, E1 Fe als ijzer(II)sulfaat, monohydraat: 50 mg, E2 I als calciumjodaat, watervrij:1,5 mg, E4 Cu als koper(II)sulfaat, pentahydraat: 5,0 mg, E5 Mn als mangaan(II)oxide: 35 mg, E6 Zn als zinkoxide: 65 mg, E8 Se als natriumseleniet: 0,2 mg.

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SKU: 37233341917

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John P. Jones III
New York, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Stephen McLeod
Dallas, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002
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Old Cinephile
Lexington, US
★★★★★ 5
"Happiness consists of being able to tell the truth without hurting anyone."
From the stunning, groundbreaking opening sequence of escaping asphyxiation to the fantastical harem scene to the final realization to become PART of life instead of just trying to control or run from it, Fellini's masterpiece gives us one of cinema's great rollercoaster rides of guilt, artistic creativity and self-acceptance. Certainly, one of the most influential films of all time it breaks completely free of convention and introduces us to the inner workings of director Fellini's world. And we are much richer for the journey. Sometimes painful, sometimes supremely funny we can't wait to find out about another hidden treasure or nightmare locked away in the mind of Guido Anselmi. You'll never think about directors and film making quite the same way again. Criterion does a fine job with this Blu-ray release. The restored image here has deep blacks, solid greyscale and brilliant whites. Grain is very tight with nice detail. Details in the characters' faces are easily seen. The cleaned up restored mono soundtrack is clear and the musical elements are without distortion. As usual for Criterion, the supplements are extremely generous with several fine documentaries, interviews, and a nice booklet with writings by Fellini and critics. Truly a must own for any physical media collection.
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Reviewed in the United States on May 12, 2024
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Verified Purchase
Christina Reynolds
San Leandro, US
★★★★★ 5
A Tangled (But Necessary) Mess
My rating is more of a 4.5 Thanks for reading! 𝑰'𝒎 𝒏𝒐𝒕 𝒂𝒇𝒓𝒂𝒊𝒅 𝒂𝒏𝒚𝒎𝒐𝒓𝒆 𝒐𝒇 𝒕𝒆𝒍𝒍𝒊𝒏𝒈 𝒕𝒉𝒆 𝒕𝒓𝒖𝒕𝒉, 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒉𝒊𝒏𝒈𝒔 𝑰 𝒅𝒐𝒏'𝒕 𝒌𝒏𝒐𝒘, 𝒘𝒉𝒂𝒕 𝑰'𝒎 𝒍𝒐𝒐𝒌𝒊𝒏𝒈 𝒇𝒐𝒓 𝒂𝒏𝒅 𝒉𝒂𝒗𝒆𝒏'𝒕 𝒇𝒐𝒖𝒏𝒅. 𝑻𝒉𝒊𝒔 𝒊𝒔 𝒕𝒉𝒆 𝒐𝒏𝒍𝒚 𝒘𝒂𝒚 𝑰 𝒄𝒂𝒏 𝒇𝒆𝒆𝒍 𝒂𝒍𝒊𝒗𝒆 𝒂𝒏𝒅 𝑰 𝒄𝒂𝒏 𝒍𝒐𝒐𝒌 𝒊𝒏𝒕𝒐 𝒚𝒐𝒖𝒓 𝒇𝒂𝒊𝒕𝒉𝒇𝒖𝒍 𝒆𝒚𝒆𝒔 𝒘𝒊𝒕𝒉𝒐𝒖𝒕 𝒔𝒉𝒂𝒎𝒆. 𝑳𝒊𝒇𝒆 𝒊𝒔 𝒂 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒊𝒐𝒏. 𝑳𝒆𝒕'𝒔 𝒍𝒊𝒗𝒆 𝒊𝒕 𝒕𝒐𝒈𝒆𝒕𝒉𝒆𝒓! 8 & ½ s a 1963 Italian surrealist psychological comedy-drama film directed and co-written by Federico Fellini. Troubled Italian filmmaker Guido Anselmi struggles with creative stasis as he attempts to get a new movie off the ground. Overwhelmed by his work and personal life, the director retreats into his thoughts, which often focus on his loves, both past and present, and frequently wander into fantastical territory. As he tries to sort out his many entanglements, romantic and otherwise, Anselmi finds his production becoming more and more autobiographical. In the time it takes to complete a single project a director will don countless hats and faces, 8 & ½ centered around the demands of this position and the chaos that transpires on a given film set. Born January, 20th, 1920, Fellini started working on movies in the capacity of a screenwriter, his earliest works including varying radio sketches and recipiency of his first screen credit for 𝑻𝒉𝒆 𝑷𝒊𝒓𝒂𝒕𝒆'𝒔 𝑫𝒓𝒆𝒂𝒎 in 1940. Shortly thereafter Fellini found himself continuously having more responsibility put on his plate, with some assignments requiring him to provide labor he hadn’t expected before: example of which being when he had to some acting of his own while 𝑳'𝑨𝒎𝒐𝒓𝒆 (1948) was in production. These roles run amok in 8 & ½, eventually culminating in Guido’s hesitancy to hand full reign of a given task to a given (But seemingly qualified) colleague, his worry somewhat rooted in the anticipated receptiveness of his anticipated audience to his final product; likewise, this disposition is further informed by what Fellini’s perceived as overt failures prior to the 8 & ½, as 𝑽𝒂𝒓𝒊𝒆𝒕𝒚 𝑳𝒊𝒈𝒉𝒕𝒔 (1950) left him with debts that took a decade to resolve on the account of it being poorly received. So begs the question at the root of Guido’s tangential laments and ruminations: Should movies be made primarily for an audience as a remote victory or reflective of its crew as a personal disaster? 8 & ½ opens on Guido Anselmi: Marcello Mastroianni bringing just the right amount of cool and cosmopolitan with an almost hitman disposition; as the production he is in charge of unfolds his appearance cracks under the pressure of this creation, in due time revealing someone that isn’t as confident as he appears and further upon at great risk of sinking in to an otherwise listless existence. Anselmi’s woes are interspersed with what can only be described as hazy dreams, the latter more overtly inspired by the subjects of religion and a pair of parental figures whom remain unimpressed by their sons’ abilities after having already passed away. Further investigation reveals to what extent these may be manifestations of insecurity on Fellini’s behalf; prior to working on films Fellini enrolled in a law school for the sake of pleasing his parents (though no record exists of him ever attending a class), and in spite of considering himself to be Catholic he avoided former activity in a corresponding church. No-one can speak with confidence as to what drove this refusal, except to say on the topic of faithfulness in the context of his marriage he was a known transgressor: so much so that in spite of marrying Giulietta Masina in 1943 he attended the funeral of his father with an identified mistress in 1956. Whether out of embarrassment, shame, or whatever else may be attributable, Guido’s stream of consciousness (And disloyalty to his partner Luise), as it play out in 8 & ½ is a muddle of personal experiences, and then some as evidenced by Fellini’s own comments aside: 𝑰𝒕 𝒊𝒔 𝒏𝒐𝒕 𝒎𝒆𝒎𝒐𝒓𝒚 𝒕𝒉𝒂𝒕 𝒅𝒐𝒎𝒊𝒏𝒂𝒕𝒆𝒔 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔. 𝑻𝒐 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔 𝒂𝒓𝒆 𝒂𝒖𝒕𝒐𝒃𝒊𝒐𝒈𝒓𝒂𝒑𝒉𝒊𝒄𝒂𝒍 𝒊𝒔 𝒂𝒏 𝒐𝒗𝒆𝒓𝒍𝒚 𝒇𝒂𝒄𝒊𝒍𝒆 𝒍𝒊𝒒𝒖𝒊𝒅𝒂𝒕𝒊𝒐𝒏, 𝒂 𝒉𝒂𝒔𝒕𝒚 𝒄𝒍𝒂𝒔𝒔𝒊𝒇𝒊𝒄𝒂𝒕𝒊𝒐𝒏. 𝑰𝒕 𝒔𝒆𝒆𝒎𝒔 𝒕𝒐 𝒎𝒆 𝒕𝒉𝒂𝒕 𝑰 𝒉𝒂𝒗𝒆 𝒊𝒏𝒗𝒆𝒏𝒕𝒆𝒅 𝒂𝒍𝒎𝒐𝒔𝒕 𝒆𝒗𝒆𝒓𝒚𝒕𝒉𝒊𝒏𝒈: 𝒄𝒉𝒊𝒍𝒅𝒉𝒐𝒐𝒅, 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓, 𝒏𝒐𝒔𝒕𝒂𝒍𝒈𝒊𝒂𝒔, 𝒅𝒓𝒆𝒂𝒎𝒔, 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔, 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒑𝒍𝒆𝒂𝒔𝒖𝒓𝒆 𝒐𝒇 𝒃𝒆𝒊𝒏𝒈 𝒂𝒃𝒍𝒆 𝒕𝒐 𝒓𝒆𝒄𝒐𝒖𝒏𝒕 𝒕𝒉𝒆𝒎. 8 & ½ in its infancy came to Fellini in 1960, at that time described as being about a man with an unidentified profession suffering from creative block on the account of his life being disrupted by a “not-too-serious disease”. Given the go ahead to start production in 1962, Fellini would eventually draft a letter confessing that he had “lost his film” with the intent of abandoning the production, this action interrupted by a request to launch the celebration of it; it was only then that Fellini decided to tell a story about a director who know longer knew what kind of film he wanted to make. Both a sign of the times and personal preference, 8 & ½’s dialogue was edited and finalized in its post-production phase: a practice that allowed for the use of less experienced actors at the cost of them needing more direction on set in addition to the dubbing of related noises after the fact. In light of this, and perhaps needless to say, what 8 & ½ reflects in regards to stifled expressiveness feeds into its otherwise harebrained pacing, not to mention the drab of its monotone landscape. During the earlier part of Fellini's career his film related assignments took on an ulterior motive: they allowed for him to avoid the draft associated with a declaration of war made against France and Britain on Benito Mussolini’s behalf, and was something that would inform the nature of his work until approximately 1945. The extent to which this habit of coming on board any given film-related opportunity affected the entirety of his filmography was never addressed - much less inquired about - though it would be appropriate to underscore what this had to have demanded in light of reception that was unpredictable. The good news is that by the time 8 & ½ was released Fellini had made well-enough of a name for himself given the broad applicability of the themes he entertained, though this established competency made him no more immune to the demands made by the Production Studios he’d end up collaborating with: this is most reflected in 8 & ½’s conclusion, as it was originally intended to implicate suicide more explicitly as a ‘viable option’ for Guido. Fairly describable as a tangled mess of hope, fantasy, and some extent delusion, 8 ½ walks that fine line between pleasing the masses and rubbing its own ego, and perhaps that’s why it was robbed of its working title, ‘𝑻𝒉𝒆 𝑩𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝑪𝒐𝒏𝒇𝒖𝒔𝒊𝒐𝒏’; but, then again, maybe that’s what happens when art imitates life and vice versa.
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Reviewed in the United States on May 13, 2024
R
Verified Purchase
Randy Keehn
Draper, US
★★★★★ 5
How Good is Great?
I purchased this DVD because of its' sustained superior ratings in the Sight and Sound survey every decade of the best films of all time. Obviously, there must be something very great about this movie. There is but but there are some second thoughts that plagued me along the way. First of all, I am always impressed by a film's ability to hold our attention. This is often where the skill of film editing is best appreciated. I confess that I found myself looking for some scenes in "8 1/2" to move along. This is a cerebral movie, not an action movie but there seemed to be a fair amount of redundancy. Secondly, I was surprized by the sound work on this movie. I made a quick glance at a few other reviews but didn't see any similar comments. Thus I don't know if it was just my copy. However, the sound didn't match up with the film very well at all. This gives the movie an odd appearance of being an Italian movie dubbed in Italian. Was I missing something? Finally, the message in this film, for me, was "to your own self be true" which is certainly a valid philosophy; just ask Socrates. However, it was stretched to come across as "accept me for who I am, not whom you want me to be". This message is still a valid philosophy but a bit harder for some of us to accept. Having said all of that, let me praise the movie; (I DID give it a "5" after all). The acting is terrific; especially Marcello Mastroianni whose air of detachment fit the movie so well. The photography (B&W) was excellent, as well. The story is one of a director who has lost his own direction. As he stumbles aimlessly along supposedly putting together a film, his inteactions with others and his reminiscences give us an insight to his confusion. His world is overwhelming him and he can't figure out where to turn. He is much the victim of himself (which makes the message that much harder to swallow). As his crisis reaches its' own crisis, the movie rights itself with his discovery of his own self-awareness. Everything comes together at the end with a message of hope (primarily for the director). The beauty of the movie is how we are able to follow the character's collapse and rebirth. It is also in the way we can see the rest of the world through his own eyes. This is the sort of movie that will expand with each re-viewing. The DVD contains a second disc with information and reviews about the movie and the Director. This is a good movie that caught me off-guard because I was victimized by too much advance hype. I understand the hype but it would have been better to discover it for myself. Discover it for yourself and it will be a movie you'll remember.
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Reviewed in the United States on April 4, 2004

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