Motifs are recurring structures, contrasts, or literary
devices that can help to develop and inform the text’s major themes.
Female Sensuality
The most memorable collective body of characters in 8½ is unquestionably
its women, who range from a collegiate waif to a movie star to a
simple-minded hotel owner. The harem sequence that showcases these
women also illustrates the way in which Guido, like many men, is
in some way attracted to every woman he’s ever known. Guido feels
guilty about having extramarital interest and at certain points
expresses the wish not to have such temptation. Fellini articulates
Guido’s incredible difficulty suppressing his desire by emphasizing
the sensuality of all of the female characters in the film. Carla,
Guido’s ever-available, sumptuously beautiful mistress, is the best
example, for she personifies sexual temptation itself. Other, more
unlikely women also attract Guido, such as the monstrous Saraghina
(Guido likes her thick legs and quick hips) and Guido’s homely aunts,
with whom he associates being nurtured. In any case, every scene
in the film includes women with special features— shapely backs,
crowns of blond hair, beautiful voices—that taunt Guido’s intent
to behave.
Catholicism
Though the presence of religion pervades 8½, the
film offers no clear religious message—a setup well matched to Guido’s
ambiguous attitude toward religion. In short, Guido isn’t sure how
he feels about faith and the church. He began moving away from the
church as an adolescent, when he discovered that the rigors of devout Catholicism
would not accommodate his emerging libido. Despite this early separation,
the middle-aged Guido has a deep respect for Catholicism and yearns
to understand it. In his dream involving his parents, he is wearing
a clerical robe, and before his appearance at the fountain he is
touched by a solemn moment he witnesses between the cardinal and
his attendants in the elevator. Guido makes sure to seek the cardinal’s
advice and approval for the script in his film, but during the interview
the cardinal seems distant, commenting on a birdcall and asking
Guido questions about his family life. The wisdom of the cardinal
seems equally inaccessible in Guido’s daydream of their meeting
in the steam baths, during which the cardinal recites biblical quotations
in Latin and barely acknowledges Guido. Preoccupied with aging,
which inevitably leads to death, Guido makes an earnest effort to
understand the religion of his upbringing. Nonetheless, the spirit
of Catholicism evades him.
Professional Stress
Guido’s life is fraught with professional concerns. The
introductory nightmare sequence during which Guido, blissfully escaping
into the clouds, is pulled down by men from the film industry, is
a clear symptom of his stress. Although Guido’s occupation involves
him perhaps a bit more personally than other jobs would—for his
artistic production depends on his professional stability—Fellini’s description
of the interminable nagging and never-tied loose ends of Guido’s
career is nevertheless universally relevant. For example, during
Guido’s physical exam, which takes place directly after the nightmare
sequence, Fellini depicts the absurdity of society’s acceptance
of jobs that invade the personal sphere. Guido sits, leaning forward
with his pajama top pulled over his head so that the doctor can
listen to his breathing, and allows his collaborator, Daumier, who
is wearing a robe, to come in to talk about the script. The level of
intimacy with his coworkers that Guido is accustomed to accept seems
almost ridiculous. Fellini completes the statement with a flourish
at the end of the scene: Guido escapes his doctor and Daumier by
slipping into his bathroom, where he expects to find privacy, but
is afforded only a moment to himself before a phone—a phone in the
bathroom, no less—begins to ring.
