SKU: 3644292402
uppababy minu with bassinet

uppababy minu with bassinet UPPAbaby Minu V3 Stroller Dillan (Stone Blue)

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Description

uppababy minu with bassinet UPPAbaby Minu V3 Stroller Dillan (Stone Blue)by UPPAbaby Babesta Pick Best Lightweight Stroller for UPPAbaby Families Category: Lightweight travel strollers Urban strollers Birth to toddler strollers Travel systems Certifications: GREENGUARD Gold REACH certified JPMA certified PFAS free materials The UPPAbaby Minu V3 is a 16. 7 lb compact travel stroller suitable from birth to 50 lbs, with a one hand one step fold that is IATA compliant for airplane overhead bin storage. It is newborn ready out

by UPPAbaby  |  Babesta Pick — Best Lightweight Stroller for UPPAbaby Families

Category: Lightweight travel strollers  |  Urban strollers  |  Birth-to-toddler strollers  |  Travel systems

Certifications: GREENGUARD® Gold  |  REACH certified  |  JPMA certified  |  PFAS-free materials

The UPPAbaby Minu V3 is a 16.7 lb compact travel stroller suitable from birth to 50 lbs, with a one-hand one-step fold that is IATA compliant for airplane overhead bin storage. It is newborn-ready out of the box — the V3’s infinite deep recline and integrated foot barrier (protective footwell) create a safe carriage mode from day one, with no bassinet purchase required. The UPPAbaby Bassinet is not compatible with the Minu V3.

At Babesta, the Minu V3 has a specific and important role in our stroller lineup: it is the only lightweight stroller that is directly compatible with the UPPAbaby Mesa and Aria infant car seats. For any family that already owns a Mesa or Aria, or is planning to buy one, the Minu V3 is the clear lightweight companion stroller. No other travel stroller in this weight class offers that seamless UPPAbaby-to-UPPAbaby click-in.

Compared to the Joolz Aer2 and Stokke Yoyo — the other travel strollers we carry — the Minu V3 is wider (18″ vs. the Aer2’s and Yoyo’s ~17″), heavier by 2–3 lbs, and has a larger basket (20 lbs vs. 17.6 lbs on the Aer2). That wider stance translates to a more stable, planted ride on uneven surfaces — it handles NYC sidewalks with noticeably more confidence than the narrower ultra-compacts. For families who want a lightweight stroller that feels like a lightweight stroller and not a toy, the Minu V3 is the one.

 

Specifications

Stroller weight

16.7 lbs (frame & seat)

Unfolded dimensions

34.5″ L × 18″ W × 41″ H

Folded dimensions

10″ L × 18″ W × 21.5″ H

Fits airplane overhead bin?

Yes — IATA compliant

Suitable from birth?

Yes — infinite deep recline + integrated foot barrier for newborn carriage mode

Bassinet compatible?

No — UPPAbaby Bassinet is not compatible with the Minu V3. Newborn-ready out of the box via recline + foot barrier.

Max child weight

50 lbs (max height 40″)

Fold type

One-hand, one-step fold; self-standing when folded; integrated carry strap

Seat recline

Infinite deep recline including full lay-flat; one-hand adjustment

Footrest positions

3 positions, adjustable

Crotch buckle positions

2 positions for newborn and older child fit

Handlebar material

100% full-grain leather; adjustable height

Suspension

Front suspension + independent rear suspension for smooth multi-terrain ride

Basket capacity

20 lbs — largest basket in the travel stroller category

Canopy

UPF 50+ water-repellent; zip-out extendable; peek-a-boo mesh window

Harness

5-point adjustable; no-rethread; integrated plush seat liner

Integrated carry strap?

Yes — hands-free transport when folded

Hidden Air Tracker pocket?

Yes

Seat back height

High seat back; grows with child

Certifications

GREENGUARD® Gold; REACH certified; JPMA certified; PFAS-free materials

Warranty

3 year non transferable warranty

Frame material

Durable aluminum

 

Best For / Not For

Best For: Families who already own or are buying a UPPAbaby Mesa or Aria infant car seat. Parents who want a more stable, wider-stance travel stroller than the Joolz Aer2 or Yoyo. Frequent travelers who need IATA overhead bin compliance. NYC families who want a lighter everyday stroller to complement a full-size like the Vista V3 or Cruz V3. Walkup dwellers who need something they can carry upstairs.

Not For: Families who want the absolute lightest stroller available (the Joolz Aer2 at 14.3 lbs is lighter). Parents who need a double stroller or modular platform. Anyone who wants to use the UPPAbaby Bassinet — it is not compatible with the Minu V3. Jogging or rough terrain use.

Availability & Colors

Colors

Ada, Dillan, Evelyn, Greyson, Jake (black), Savannah (white/grey)

Availability

Generally in stock; If not allow 5–7 business days for order fulfillment. In-store pickup available at Babesta Tribeca, NYC.

 

Is it suitable for my baby's age?

Newborn (0–3 months)

Yes — the Minu V3 is newborn-ready out of the box via the infinite deep recline and integrated foot barrier (protective footwell). No separate bassinet purchase required. The UPPAbaby Bassinet is not compatible with the Minu V3.

Infant (3–12 months)

Yes — reclined or semi-reclined seat, 5-point adjustable harness, 2-position crotch buckle. Compatible with UPPAbaby Mesa and Aria infant car seats, or Nuna, Cybex, Clek (adapters sold separately).

Toddler (1–4 years)

Yes — upright seat with 3-position footrest, adjustable harness, high seat back for growing kids, up to 50 lbs / 40″ height.

 

Is it good for NYC / city use?

Yes — the Minu V3 is one of our top recommendations for NYC families who need a compact stroller for daily use. The 18″ width is narrower than the Cruz V3 (22.5″) and Vista V3 (25.7″), making it easier to maneuver through restaurant aisles, elevator doors, and tight retail spaces. The front and independent rear suspension make it considerably more planted on cracked NYC sidewalks than pure ultra-compact strollers, which often sacrifice ride quality for weight savings.

The one-hand fold and integrated carry strap mean you can fold it while holding your child and sling it over your shoulder on subway stairs — a practical consideration that the Joolz Aer2’s shoulder strap also addresses. At 16.7 lbs it is light enough for most parents to carry up a walkup flight without it being an ordeal, though the Joolz Aer2 at 14.3 lbs has a meaningful advantage for anyone doing this multiple times a day.

The 20 lb basket is the largest in the travel stroller category — genuinely useful for NYC parents who are combining errands, school drop-off, and grocery runs in a single outing.

 

Quick Comparison: Minu V3 vs. Key Lightweight Alternatives

★ = category standout

Feature

Minu V3

Joolz Aer2

Stokke Yoyo

Bugaboo Butterfly

Weight

16.7 lbs

14.3 lbs

~14.8 lbs

~16 lbs

Width (unfolded)

18″

~17.7″

~17.3″

~17″

Basket capacity

20 lbs ★

17.6 lbs

~22 lbs

~17.6 lbs

Newborn-ready (out of box)

Yes

Yes

No

No

UPPAbaby car seat

Yes ★

No

No

No

IATA overhead bin compliant

Yes

Yes

Yes

Yes

All-wheel suspension

Yes

Yes

No

Yes

 

Car Seat Compatibility

Adapter required (sold separately)

UPPAbaby Mesa, UPPAbaby Mesa V2, UPPAbaby Aria, Select Maxi-Cosi (Mico Max 30, Mico NXT, Mico Max Plus, Mico AP, Mico Plus), Nuna (Pipa Lite, Pipa Lite LX, Pipa Lite R, Pipa Aire, Pipa Aire RX, Pipa Next, Pipa RX, Pipa Urbn, Klik Plus), Cybex, Clek Liing, BeSafe — ask Babesta team for correct adapter for your brand and model.

Bassinet compatible?

No — the UPPAbaby Bassinet is not compatible with the Minu V3. The Minu V3 is newborn-ready via its built-in recline and foot barrier; no bassinet is needed.

 

What’s Included

       UPPAbaby Minu V3 stroller

       Extendable sun canopy (UPF 50+)

       Large storage basket

       Adjustable 3-position footrest

       Integrated carry strap

       Integrated plush seat liner

 

Optional Add-Ons Available at Babesta

       UPPAbaby Mesa infant car seat — clicks directly onto Minu V3 without adapters

       UPPAbaby Aria infant car seat — clicks directly onto Minu V3 without adapters

       Car seat adapters for Maxi-Cosi, Nuna, Cybex, Clek, BeSafe (sold separately) — ask Babesta team for your brand and model

       Cup holder / snack tray accessories

       Cozy Ganoosh — footmuff for cold NYC winters

 

Babesta Pick — Why We Carry It

The Minu V3 fills a very specific gap that no other lightweight stroller in our lineup covers: the UPPAbaby ecosystem. If you have a Mesa or Aria, you already know how easy the click-in travel system works on the Vista V3 or Cruz V3. The Minu V3 gives you that exact same no-adapter experience in a compact, 16.7 lb stroller. For families who want to go from car seat to lightweight stroller without fumbling with adapters — especially with a newborn — that’s a meaningful convenience.

Beyond the car seat compatibility, we carry it because it’s the most stable travel stroller in its class. The 18″ width and dual-suspension system give it a planted, confident feel on NYC sidewalks that the narrower ultra-compacts don’t match. Parents who come in comparing it to the Joolz Aer2 often leave with the Minu V3 once they push both on the pavement outside — the ride difference is immediately noticeable.

The V3 upgrade from the V2 is also significant: the fully flat recline with integrated foot barrier means it’s genuinely newborn-ready without any extra purchase, which the V2 was not. If you were on the fence about the previous Minu, the V3 resolves the main objection.

 

Babesta Services on This Purchase

When you buy the Minu V3 from Babesta, you get:

       Free in-store assembly and full stroller demo — we walk you through the fold, recline, foot barrier setup, and car seat click-in

       Home delivery below Canal Street NYC (assembled) and same-day courier delivery in NYC/Brooklyn (unassembled)

       In-store pickup available at Babesta Tribeca, 56 Warren Street

       Hold it until you’re ready — no rush

       Price match guarantee

       Registry support — add the Minu V3 and compatible accessories to your Babesta registry

 

Frequently Asked Questions

Can the UPPAbaby Bassinet be used with the Minu V3?

No — the UPPAbaby Bassinet is not compatible with the Minu V3. The good news is that the Minu V3 is newborn-ready out of the box: the infinite deep recline and integrated protective footwell create a safe carriage mode from birth without needing a separate bassinet. This is one of the key upgrades from the Minu V2, which required a bassinet or infant car seat for newborn use.

Is the Minu V3 compatible with UPPAbaby car seats?

Yes — and this is the Minu V3’s standout advantage among lightweight strollers. The UPPAbaby Mesa, Mesa V2, and Aria infant car seats click onto the Minu V3 frame. It is the only lightweight stroller that offers this seamless no-adapter compatibility with UPPAbaby car seats. If you have a Mesa or Aria, the Minu V3 is your natural lightweight companion stroller.

What other car seats is it compatible with?

With the separately sold adapter, the Minu V3 is compatible with select Maxi-Cosi (including Mico Max 30, Mico NXT, Mico Max Plus), Nuna (including Pipa Lite, Pipa Lite LX, Pipa Aire, Pipa Next, Pipa RX, Klik Plus), Cybex, Clek Liing, and BeSafe models. Ask the Babesta team for the correct adapter for your specific car seat brand and model, as compatibility varies.

How does it compare to the Joolz Aer2?

The Joolz Aer2 is lighter (14.3 lbs vs. 16.7 lbs), slightly narrower, and is available at $579 vs. $499.99 for the Minu V3. The Minu V3 has a larger basket (20 lbs vs. 17.6 lbs), a more stable wider stance (18″ vs. ~17″ for the Aer2), and dual suspension for a smoother ride. Most importantly, the Minu V3 is the only lightweight stroller directly compatible with UPPAbaby car seats. The Aer2 does not work with the Mesa or Aria without adapters; the Minu V3 does. If you have a Mesa or Aria, the Minu V3 is the clear choice. If you prioritize the lightest possible weight and subway portability above all else, the Aer2 has the edge.

Does it really fit in an airplane overhead bin?

Yes — the Minu V3 is IATA compliant at its folded dimensions of 10″ L × 18″ W × 21.5″ H. This was a major upgrade from the Minu V2, which was marketed for overhead bins but wasn’t always guaranteed to fit. The V3 can typically be stowed in the overhead compartment on most commercial aircraft. Always confirm with your specific airline before travel.

Can I use this as my only stroller?

Yes, for many NYC families — particularly those in walkups, those who take the subway regularly, or frequent travelers. If you walk long distances daily in a park-heavy neighborhood and prioritize push quality, you may prefer pairing it with a full-size like the UPPAbaby Cruz V3 for those longer outings. The Minu V3 is also a popular second stroller for families who have a Vista V3 or Cruz V3 and want a lighter option for everyday errands and travel.

Can I try it in person?

Yes — the Minu V3 is on the floor at Babesta Tribeca, 56 Warren Street. Our team can walk you through the fold, the recline and foot barrier setup, and — if relevant — demonstrate the Mesa or Aria click-in directly so you can see how the travel system works before you buy.

Can I put this on my baby registry?

Yes — the Minu V3 is a popular registry add at Babesta, particularly for parents who are also registering for the Vista V3 or Cruz V3 and want a lightweight companion stroller from the same ecosystem. A Babesta registry comes with exclusive perks and expert guidance on building your complete stroller setup.

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4.1 ★★★★★
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Stephen McLeod
Birmingham, 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
Houston, 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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Christina Reynolds
Phoenix, 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
West Palm Beach, 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
Y
Verified Purchase
yummymayo
Phoenix, US
★★★★★ 5
BD Version.
One of my top five films of all time. I won't speak much about the film itself, under the assumption most readers have already seen it. You can be guaranteed a fantastic film if you haven't seen this yet. As far as the BD itself, the transfer is absolutely fantastic! The DVD version itself already had a pretty pristine transfer, but of course with the BD upgrade the resolution and detail is so much better, and of course comes loaded with extras and an accompanying booklet that is actually quite thorough and should be considered an item in itself, and not just a supplement to the disc. I haven't watched them all, but the extras that are bundled with the film are plentiful and quite informative. Often times with extras you feel as though it is just filler and fodder (let's be honest, it usually is) but at least Criterion makes a conscious effort to make it interesting. I'd say the extras are worthwhile, and also an upgrade from the DVD version. The biggest difference I noticed from my first viewing is that the subtitles are slightly changed from the DVD version, and also theatrically. There are probably lots of different translations, but it IS different from the DVD but not drastically. The same point is made, but just using a different delivery. Not sure how I feel about some of the changes, but I probably just got used to the previous translation. I'm not sure where some of these discrepancies or complaints are coming from that have surfaced recently, but my copy was packaged in the special made Criterion jewel cases, NOT the cardboard ones, and of course not the actual blue ones. For a while, with some of the earlier releases, Criterion was releasing its BDs in cardboard slip case and digi-pack format which angered a lot of customers who spoke their voice and got them to upgrade to the now standard jewel cases. A good move in my opinion, but now I'm stuck with Third Man and 400 Blows in cardboard. Reportedly, you can send in the old cases to get upgraded to new ones, but it'll cost you 5 bucks each, so... I think I can live with it.
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Reviewed in the United States on January 24, 2010

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