Genres

Visitors Review

2012-05-23 10:34:45

Much better than advertised

"Nine" has taken the same circuitous route to the big screen as "The Producers" did a few years back. First, it started out life as a beloved movie - in this case, Fellini's classic 1963 "8 ½" - then got itself reincarnated in the form of a Broadway musical (undergoing a name change in the process); finally it got adapted back into a movie by the trusty hands of Hollywood, much to the consternation, apparently, of most of the nation's film critics.The original movie was a phantasmagoric blending of memory, reality and wish-fulfillment fantasy, focused on a major Italian film director caught in creative crisis (a figure obviously based on Fellini himself). Daniel Day-Lewis takes on the role, made famous by Marcello Mastroianni, of the filmmaker (now named Guido Contini) who "has nothing left to say" - either as a man or as an artist - a man so harried and hounded by producers, subordinates, reporters, detractors, sycophants, and assorted hangers-on that he sneaks away for a rest-cure at an out-of-the-way health spa. With all his creative juices dried up and feeling that he will have a nervous breakdown if he has to make even one more statement or executive decision regarding his film, Guido, like many of us, believes he will find the peace he so desperately yearns for by retreating from the outside world. But Guido soon discovers that there is no escaping from the people and pressures of the world in which we live - nor from our religious and familial upbringing - for they are each of them an integral part of the fabric that makes us who we are. Visually, "Nine" captures all the flash, dash and excitement of life among the glitterati in the Eternal City circa 1965. In terms of plot and incident, the Michael Tolkin/Anthony Minghella screenplay (itself derived from Arthur Kopit's Broadway adaptation) follows the original fairly closely, but what's missing is the spark of cinematic genius that Fellini alone could bring to the material. But can one reasonably have expected that, anyway? As a director, Rob Marshall does an impressive job re-staging the dramatic portions, but he certainly doesn't have Fellini's flair for the carnival-like atmosphere for which the maestro is justly famous (but, then again, who does?). However, as with "Chicago," Marshall demonstrates that he knows how to slide in and out of the musical numbers without being unduly jarring about it. That`s particularly challenging given that most of the numbers - which serve as reflections of the characters' thoughts and feelings and the movie's themes - are done largely on surrealistic soundstages, as opposed to the on-location filming of the non-musical portions of the movie. No surprise, Day-Lewis is superb as the dashing but world-weary director (truly as much a celebrity as an artist), perfectly capturing the angst, frustration and conflict taking place deep within the soul of a creator who still has so much to say - despite his protestations to the contrary - but not the slightest clue of how to say it. Guido is clearly trying to be a good person, but all those inner demons are doing their best to thwart him at virtually every turn. There are many moving moments of deep introspection, as Guido contemplates the direction of his life and the effect his actions are having on the people he loves. I'm going to go out on a limb here, and it may sound like blasphemy even to say this, but Day-Lewis lets us see his character's pain in a way that even Mastroianni himself did not. Interestingly, by tamping down some of Fellini's cinematic "distancing devices" and icy-cool tone, the movie actually allows us to relate with Guido on a more personal level and to care more deeply about his plight.Marion Cotillard replaces Anouk Aimee as Guido's devoted but longsuffering wife who knows about her husband's infidelity and who suspects he has become a filmmaker as a means both of avoiding having to deal with real life and of achieving personal forgiveness and redemption for himself; Penelope Cruz stars as Guido's flighty mistress, whose sudden appearance at the spa throws Guido's world into a tizzy; and Sophia Loren puts in an occasional appearance as Guido's recently deceased mother who gives him words of advice and comfort from beyond the grave. Nicole Kidman portrays Claudia, the beautiful young starlet who loves Guido but ultimately refuses to be just another of his numerous "conquests." Judi Dench plays the fashion designer who appears to be the one level-headed and brutally honest person whom Guido can turn to for advice and support. And all of them are excellent.One thing that "Nine" has going for it that "8 ½" didn't is the perspective that comes with the passage of time. When the original was released, it WAS "Italian Cinema" - and everything that went along with that term. As a result, the movie was totally unconscious of itself and the place it and other films of its time period would occupy in movie history. "Nine," with the ability to look back on the era from a much later perspective, is able to convey all this in a way that those earlier films, including "8 ½" itself, could not. In this sense, "Nine" sees "8 ½" more as an artifact than as the contemporary trailblazer it was in its time.As with all remakes and "re-imaginings" of classic works, we must finally ask ourselves the crucial question: "Is this trip really necessary?" I think in the case of "Nine," I will have to go with "Yes" - or, if not "necessary," at least audacious and stimulating. "8 ½" aficionados and Fellini purists may have trouble warming up to this version, but I see it not as a denigration of the master and his great work, but as a tribute to them.

Thelma Adams 2012-05-22 18:53:37

Daniel Day-Lewis sings, dances and furrows his brow in a Rob Marshall's musical that could have been a 10 but is only a 5.

2012-05-21 03:53:56

Good acting from everyone, just a lame story

Hollywood has produced hundreds of movies about men going thru a mid-life crisis; American Beauty, Falling Down, and Lost in Translation are some of the more famous examples. Rarely does this story get transferred into a musical though, but I guess it had to be done sooner or later, and this is a fairly good, though not great rendition. The story is simple enough; Daniel Day Lewis plays Guido, a famous Italian movie director on the down side of his career. He has signed up to direct one last movie, though he has no script for it, and all the past mistakes of his life catch up to him in the run-up to the filming of his movie. And this being Hollywood, all his past mistakes deal with women, most of them attractive. The movie is then broken up into approximately 8 parts. Each of the first 7 parts focuses on his relationship with a specific woman. In the last part, he has moved past his mistakes and makes a movie about him moving past his mistakes. Each part is anchored by a musical score, with the featured woman being the lead singer. The movie's format is quite similar to Chicago, which is to be expected once you discover that the same person, Rob Marshall, made both movies. The songs' lyrics and melodies are good, catchy, but not memorable. The singing, however, is OK; even Fergie's performance was ho-hum. Some of the musical pieces have the quality of a MTV video, see for example the lively performance by Kate Hudson's character. My only beef with the movie is the use of mostly non-Italian women (i.e. Fergie, Nicole Kidman, Penelope Cruz, etc...) to play the roles of Italian women. Hence the most authentic portrayal was Sophia Lauren's role of Guido's mother. Overall, an entertaining two hours, though I would not bother watching it again.

Scott Foundas 2012-05-20 19:03:31

Nine thrashes about in search of "cinema" the way a child thrown into the deep end of a pool flails for a flotation device.

Jeff Bayer 2012-05-16 05:21:48

Director Rob Marshall knows how to put on a show, but that's just it. It's only a show. This film is all about the individual performances.

Joy 2012-05-15 21:16:25

Very Disappointing

I wanted to see another movie, but it was sold out. After seeing this movie, I wish I'd waited the 2 hours to see the next showing of my original choice. I would advise people NOT to pay to see this movie. This is something you should wait until it comes on network television. This was basically a very poor mimic of "Chicago", only staged in Italy. The visuals were great and the flashbacks of the lead character's childhood were interesting, but most of the lyrics were mundane and the singing had no real feeling in it.The story was good, but I think this movie needed better direction and a little bit more thought should have been put in the writing and lyrics. I found myself checking my watch multiple times.I did enjoy Judy Dench's character and Kate Hudson's song. Those were about the only portions of the film that particularly captured my attention. I'm quite disappointed; there were so many big names, like Judy Dench, Nicole Kidman and Daniel Day Lewis. Their acting wasn't horrible, but this movie wasn't a very good depiction of their abilities. What can I say? The cast basically needed better writing and better direction. It was pretty much like "Guido's" last two movies: ONE BIG FLOP.

cjsings2 2012-05-12 00:26:27

Phenomenal 2 hours of pure entertainment

I went in not knowing what to expect and left wanting more. Each actorwas incredible and each sang with raw emotion. I have not seen theFellini film and I am glad that I did not before seeing Nine. What wasso heart wrenching throughout the film was the emotional explorationthat most all of the characters traversed. Each character's journey wasa story unto itself and was only heightened by its intersection witheach other's own soul searching. The music was refreshing and catchy. Iknew within a few measures that I would love the music in this film.Whomever thought there was nothing toe tapping about the music in thismovie must not have stayed to the end. Even throughout the creditsothers in the theater and I were tapping toes, swaying and hummingalong. I rushed home to play it on my MP3 player, which I had alreadydownloaded. The lyrics are very moving; however Griffith Frank'srendition on the MP3 download of "Unusual Way" is much more compellingthan the version sung by Nicole Kidman - and I am a huge Kidman fan.To see Dame Judi Densch, Nicole Kidman and the magnificent Sophia Lorenin this screenplay were gifts of pure delight. I only wish that wecould have seen and heard more of them. Marion Cotilard gave a spellbinding performance and was emotionally transporting. Penelope Cruz'performance was an eye opener (almost embarrassingly so) and Fergie'svoice and portrayal of the whore of Guido's youth were mind blowing.Daniel Day Lewis was incredible - tortured, assured, egotistical, andconvincingly lost in search of his soul and recognizing his soulmate.It has been a long time since I have walked out of a movie theaterloving a movie as much as I did this one. I did not care for Chicago,but Marshall has outdone himself on Nine. To h... with the paidcritiques and reviewers. This is a gem to be treasured and leaves youwanting for more.

2012-05-11 02:59:26

Despite A Few Things

Contrary to what a lot of others say I found that Nine is an excelent movie. Of course there are a few flaws such as the inability of a couple of the actresses to sing (Judy Dench). It is true that it does not follow the Broadway production very closly but I think it is for the best. The movie is artistic and vibrant, with great songs and beautiful people. I think that this is am awesome musical.

Mick LaSalle 2012-05-10 07:06:45

John Lennon once said, "There's a great woman behind every idiot." This time, I'm counting seven of them.

Peter Keough 2012-05-09 23:07:19

What Svengali effect does [Rob Marshall] have over top-of-the-line actors that lures them into such assaults on good taste?

Alonso Duralde 2012-05-06 03:00:11

Nine represents the kind of colossal misfire that killed the movie musical back in the late '60s; here's hoping the genre can survive it.

Sean Burns 2012-05-05 11:38:20

Fellini is lucky that he didn't live long enough to see this.

Chris_Docker 2012-05-05 02:57:02

Visually appealing, ultimately empty

A short, honest review of this film might read: "A lazy, self-indulgentwaste of money, skill and celluloid. Don't go and see it."Somehow we come to expect a review to expend more column inches thanthat, even on the most undeserving pile of tosh. So defending the abovereview against anyone that might tell you otherwise, I shall proceed.Nine is about a film director that doesn't have a story. And that justabout sums up the movie. Sadly, execrably, even ironically sums it up.But not 'cleverly' sums it up. There is no scintillating intellectualself-perception here. Just a lack of story. Expensively andprofessionally packaged.Daniel Day-Lewis is Guido Conti, revered Italian movie-maker. He tellshimself he needs to be surrounded by beautiful women to act as his'muse.' There are expensive (and very beautiful) sets. Perfect cameraangles. Exquisite lighting. But very little story – whether in thefilm-within-a-film or in the movie itself. As Guido plays out hisfantasies with his wife, his mistress and his leading ladies, passionsare presented as extravagant song-and-dance numbers.Penelope Cruz (as his mistress) provides the largest acting role for awoman and throws herself into it with an eye-candy appeal characterisedby her trademark fire and histrionics. Marion Cotillard also acquitsherself well, offering a glimpse of the singing capabilities thatdelighted us in La Vie en Rose. Nicole Kidman pouts prettily and kissesseductively. Rather like a perfume advert. Pleasant performances alsofrom Judi Dench, Kate Hudson, and Sophia Loren. It reminds me of aseries of auditions where actresses, lighting experts, choreographersand so on, all demonstrate their impeccable skills. What is totallylacking is any semblance of a film upon which to apply them. I am notsurprised my companion fell asleep before the end. There is no doubtingthe quality of talent. But should people really get awards for'audition' performances? Do not actors bear some responsibility at thatlevel, for choosing worthy vehicles? (Kidman in particular, seems tohave lost all sense of direction for movies of substance, having lostthe commitment to greatness wherein her 'Tom Cruise' period saw herachieve the title, greatest actress of our generation.)Any analysis of why the 'muse' theory failed is backshelved for awhimsical kowtowing to the sacrament of marriage, providing the mostmiserable subtext imaginable. For a true example of 'muse,' thechannelling of artistic inspiration, one only needs to look at the muchhealthier example of Cruz and Almodovar – two artists that spark offeach other as equals in their respective fields. Nine is no paean towomanhood. It extols the sleazy open-crotch of temptation, thencastigates us and says the only redemption is through marriage. Theafterthought ending follows the usual formula of, be a 'good' (iegod-fearing) person, and somehow everything will turn out happily inthe end. Irrespective of talent, reality and everything that has gonebefore. The Disney salvation that is drip-fed to keep the modern massesin a state of servile beliefhood.It's traditional to say some nice things about even the most garbage ofOscar-bait movies, so I will try. Director Rob Marshall has puttogether a winning package. As with the visually appealing Chicago, orthe deceitful Memoirs of a Geisha, the Weinstein Money is safe in hishands. And, while you might see a superior display of terpsichoreanskills on Strictly Come Dancing, you do at least see proper celebritieshere instead of people trying to make a come-back. As musicals go (iefilms where the songs are not very catchy), the tunes are not bad. Ipreferred many of them to say, the endless ditties of Sir Andrew LloydWebber. But it is still a collection of goodies sans a point. Itsaddens me that people of the calibre of Penelope Cruz put their nameto films like this. While she might unite with Almodovar on a string ofreputable hits, the only union on this one is a paycheck dangled from ag-string. The title – never explained – involves references to the lifeof the great Italian director, Fellini. While it might have worked morehonestly on stage, here its reference to a great artist seems almostobscene.I can think of many ways you could better spend an evening thanwatching this movie. But I can recommend the trailer. It includes allthe best bits. And, unlike the film, is mercifully short.

Wayne Malin 2012-05-04 16:19:35

This gets an 8 just for the musical numbers

Daniel Day-Lewis plays Guido Contini. This takes place in 1965 Italy.He's a famous Italian film maker who is making his next film--but hehas no script and no ideas. He also has a loving wife named Luisa(Marion Cottilard) who is sick of his infidelity and a graspingmistress named Carla (Penelope Cruz) who can't let him go. In thecourse of the movie he recalls all the women who influenced him in hislife. They're all trotted out to do a number or two to show how and whythey influenced him.I really wanted to love this film but I couldn't for a few basicreasons. For starters Day-Lewis is SERIOUSLY miscast. He's a wonderfulactor but totally wrong for this movie. He has the same dour expressionthroughout the entire movie. However he CAN sing and sounds greatduring his two songs. But the basic idea, while being sound, is done inthe most boring way possible. All the situations are laughablypredictable and it comes across as being boring rather than dramatic.To make it worse there are pointless black and white back flashes toher childhood and sometimes the film jumps from black & white to color(and back again) within songs! It serves no rhyme or reason that I cansee. On the plus side the musical numbers are incredible! Everybody cansing (and dance) and they jump start the movie to life. They're allgood in their own way but highlights are Kate Hudson's number (whereshe dances with guys in three piece suits and sunglasses); Fergie'sover the top number; Cruzs' number (where she comes roaring off thescreen) and Luisas' second number which stops the show (and providesone of the few dramatic moments that work). There's also a wonderfullast sequence when Contini gets set to direct his first film inyears--and the entire casts assembles behind him. Also Sophia Loren(looking fantastic) pops up in a few sequences and Judi Dench has somegreat moments.So, dramatically, this film is a failure. But it's worth catching justfor the musical numbers. For those alone I give this an 8.

Anthony Lane 2012-05-02 19:42:11

You long for the ghost of Lorenz Hart to be unleashed on the whole affair, with a hard blue pencil and a head full of rhymes.

Jane 2012-05-02 11:08:00

I EXPECTED THIS MUSICAL TO BE FUN - WRONG!

This movie was so slow, and boring. At the endof the movie I wanted to yell, "Did anyone here enjoy even 5 minutes of this waste of time movie. I don't think I have ever been so dissappointed in a movie. The only part of thismovie anyone could possibly say anything good about is the beautiful actresses.

jsbalto 2012-05-01 17:30:44

this movie was a total waste of time

This movie was extremely horrible. Hackneyed, clichéd, boring, what awaste of so much talent! It's that close to a Saturday Night Livesketch! (r u kidding? am I being punked?) how could they possibly makeDaniel Day Lewis come off as some tired totally unsexy old man? Thedirection or script I guess. I had so many expectations for this aswell. Geez. Penelope Cruz was very sexy. Nicole Kidman was pretty butboring (and I kept hearing her Australian accent, but that's the leastof my problems with this total piece of crap). And Kate Hudson, she hadmaybe .5 seconds of screen time? Fergie did a good job, but what's thedeal with all the freakin' sand! Then when you're finally get a paybackfor putting up with the whole mess, they cut it short! In fact, theonly really good scene was with the wife playing stripper at the end. Iwant the 1.5 hours of my life back! WTF? and all the crappy musicalinterludes on scaffolding? R U trying to make a Broadway or art movieor what?

David Edwards 2012-05-01 08:24:09

Some great numbers and stunning set designs are let down by a failure to make us care about Guido's plight.

Oleh 2012-05-01 15:21:20

Memorable, Even if Not Perfect

Though I found the movie slow at times, I did like it and left the theatre humming Fergie's song. Somehow the movie did finally come together. I think that the critics--both professional and amateur--have been too hard on this movie.The musical numbers are creative and the actors (mainly the actresses) are a pleasure to watch. Perhaps tighter editing would have made the movie even better.

Nigel Andrews 2012-05-01 00:39:32

Bitty and frequently batty, Nine doesn't have the sultry cogency or louche mellifluousness of Chicago. But it will do for Christmas '09.