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How pathetic,waiting whole summertime to pass and in the end,i goofing
the all screwing time,yet wondering how this one is counting itself
Nine based on it's Zero or below negative 100...
turn that page in reverse and lets look at the honoring crew:the important roles are all award winners:Daniel Day-Lewis,Marion Cotillard,Penélope Cruz,Nicole Kidman,Dame Judi Dench,Sophia Loren and dehiscent Kate Hudson,well the box is stimulant shindig and is fomenting you to open this Christmas gift and separate its glittering ribbon to find what is inside,
let's keep it between us there's unsavory coming all over the chocolate decorated by de luxe containing titles,i have never had such a feeling of pity of my own after watching a seemingly a masterpiece but in fact a flop,bunch of muliebrity scenes of feeling moments are in fact to be happening,a festival of someone's ex levies and singing and ending at once,and the troop of shrews are floating in the floor
Daniel Day-Lewis is on the line of falling in the precipice of wrong roles,he is one oil tycoon all right,pare tic painter with deep retardation or seductive doctor...,but he is not chain smoker Guido what the hell guy,to cut the story short the French skinny chick is good,wide mouth Penelope is beauteous,Kate Hudson is 100000000 ounce of atomic energy,others are for decors with nice appearances, its like to buy a pack of Marlboro Lights but to gain Pall Mall blue ...
The song numbers of "Nine" are really very well-staged with all those
fantastic actresses in this Oscar-winning stellar cast. "A Call from
the Vatican" by Penelope Cruz is very sexy and playful. "Folies
Bergere" by Judi Dench is nothing like what you have seen her do
before. "Be Italian" by Fergie is very sensual with unique
choreography, and for me the best number of the whole film. "Cinema
Italiano" by Kate Hudson is decidedly faster-paced and modern with
lyrics that are meaningful to the story, but her character seemed
forced into the sequence. "Guarda la Luna" by Sophia Loren is ethereal.
"Unusual Way" by Nicole Kidman showcased her beautiful face more than
her voice. Marion Cotillard had two numbers "My Husband Makes Movies"
and "Take It All," both of which fully showcase her sensitive acting
However the problem is, these fantastic song and dance number are united by a very thin storyline, that of a premiere Italian director Guido Contini (played by Daniel Day Lewis) who seemed to be stuck in a perpetual artist's block. In fact, he does not even have a script yet for his much-awaited new feature film with the grandiose title of "Italia"! The musical numbers express his relationship with the various women in his life. However, this main character (or even his songs) is not really very appealing nor sympathetic nor interesting. You really need some patience to get through "Nine." It is just like watching a series of music videos held together by a very tenuous connecting string, ready to unravel at any time. Director Rob Marshall does his best with the thin "plot" but this is certainly not "Chicago." I think "Nine" would be better appreciated on DVD. You would wish you could just fast-forward to the next song number and skip all the dour Contini parts.
Its almost ironic not to mention confusing that this film comes out at
the same time more or less as the Tim Webb movie 9 (by number) and also
Oscar nominated District 9. Up to a couple of weeks ago, I was also
confused which movie was destined for Oscar nomination.
This film has a high quality cast with high quality acting both in the mainstream acting and in the singing and dancing. tremendous chemistry between Daniel Day Lewis as Guido and actresses Sophia Loren, Judi Dench, Penelope Cruz, Nicole Kidman and Marion Ccotillard.
I understand (now) why they called the movie NINE because Fellini has directed nine movies. Okay, that may have worked for the Broadway musical but that is a lousy decision for this movie which concentrated essentially on a mid-life crisis in work and love for an over-rated film director whom everybody seemed to love (and hate).
Why oh why didn't they just call the movie GUIDO or CONTINI or even ITALIA based on the intended theme for the movie Guido wanted to make in the movie, then we would have known what the movie was 'half' about and not got confused with the other two movies. Perhaps things might have changed if Anthony Minghella had lived to see the project through? I would say 'Take it All' is a sure fire certainty for Oscar best song, though more attention is given in the film to the 'Italiano' song.
overall the film is classy and loads better than Dreamgirls. What Dreamgirls offered was freshness, Nine didn't offer that. Were we supposed to sympathise with Guido at any time during the movie? I felt sorry for him but couldn't sympathise.
Don't know about the Fergie character about whom others have written, Penelope Cruz is up for best supporting actress. Surely Monique in precious gets the vote for that but Madame Cruz you played your part to perfection.
Did feel the film began to lose its way as 'Italia' despite the songs by going down a 'French' route and more becoming 'Vive la France' but never mind that.
Oh gosh, this is not a sing along musical but there is no bad language and plenty of eroticism in the stage dancing without any sexual distaste.
Rob Marshall has done it again: he's taken a famous Broadway musical
and made it all his own...but unlike his previous feat "Chicago" which
was a flawless, electrifying masterpiece his new movie "Nine" never
even comes close to mirroring the wonder of the former. It seems like
after "Memoirs of a Geisha" (not a musical but an engaging,
breath-takingly beautiful film nonetheless) Marhsall said "I wanna do
another musical!," recycled some ideas from Chicago, came up with some
stale choreography and decided to have an all-out musical romp without
the slightest concern for a story, art and audiences.
He didn't have much material to work with in the first place. The Broadway musical "Nine" is a spin-off of Federico Fellini's immortal classic "8 and a Half" albeit with a simplified story. Both "Nine" and "8 and a Half" have the same storyline: Guido Contini, an internationally famous screenwriter/director has no idea what his next film's gonna be about and he gropes futilely for ideas while revisiting the influence (past and present) that seven women have had in his life. The difference here is that Fellini's film is unbelievably deep and artistic, with an incomparable characterization and prodding of human concerns while the Broadway musical is simply the storyline with little or no focus on its characters and excelling only on the musical aspect.
In the film, Guido (Daniel Day-Lewis) goes about making a film which doesn't even have a script and, struggling to find a decent plot, consults a variety of women which have made a great impact in his life, including: Claudia (Nicole Kidman) a celebrated international star and Guido's muse; Luisa (Marion Cotillard) his supportive wife; Carla (Penélope Cruz) his obsessive lover; Lilli (Judi Dench) his best friend and costume designer to all his films; Stephanie (Kate Hudson) an American reporter who adores the ground he walks on; Saraghina (Fergie) an exhibitionist coquette whom he meets during his childhood; and, most importantly, his mother (Sophia Loren) whom he worships above all women but who is, unfortunately, deceased.
You look at the cast and you can't help your mouth going agape at the amount of talent the film has brought together: all the women are beyond famous, five are Academy Award-winners (Kidman, Cotillard, Cruz, Dench and Loren), one is the queen of rom-coms (Hudson) and one is a Grammy-winner recording artist (Fergie, from the Black Eyed Peas). And all the women in the film portray their characters flawlessly, especially Marion Cotillard and Penélope Cruz...but that's because they have the most screen time. With the exception of Cotillard and Cruz, each of the other women appear for around fifteen minutes tops and Sophia Loren, who's supposed to have the greatest influence over Guido, appears a whopping ten minutes! They're flawless actresses, but they're not miracle-makers and they did their best with the little time that was given to them. They each sing one song only (except Marion Cotillard, thank heavens, who sings two), and the songs don't even come close to the glory and pomp we all expect from a Broadway musical.
Daniel Day-Lewis does his best too, but what CAN you do when your character's flat, monotonous, unengaging and emotionally stifling? Fellini's Guido was a flat character too, but he mirrored countless social truths and portrayed the decadence and death of Hollywood and Italy. Marshall's Guido is, well, just flat. Nevertheless, we could try to forgive this because, after all, this isn't a remake of "8 and a Half", it's a musical and musicals are all about the music, right? Well, not even the music is engaging. For example, while each number in "Chicago" is a classic and had audiences singing along and clapping, most of the numbers in "Nine" are unimpressive and feature an overused choreography; the only number that actually remains with you after the film is over is the main theme "Be Italian" performed by Fergie (which also features a fresh choreography involving sand and tambourines), but what is a musical with only one engaging musical number, I ask you? The cinematography, editing and costumes mirror "Chicago" and it IS wonderful to see how effective they are.
I don't blame Rob Marshall, though; neither do I blame his screenwriters Michael Tolkin and Anthony Minghella (may he rest in peace). I blame the musical itself, which pales in comparison both to Fellini's film and to countless other Broadway musicals that remain engraved in our hearts. The film is entertaining, though, and I recommend you to see it if only for the excellent acting and the typical Marshall musical dream sequences which mingle with present-time plot we've all come to love.
Rating: 2 stars out of 4.
...but I couldn't. I love musicals, both on screen and on stage. I was
impressed with Rob Marshall's "Chicago" and expected great things from
"Nine" but I was disappointed. Marshall's music video type numbers
worked in "Chicago" but seemed misplaced and awkward in "Nine." The
audience is unable to appreciate the fantastic choreography because of
how often Marshall cuts to a different angle. I prefer the Gene Kelly
type dance scene when the camera stays with the dancer so that the
audience is able to see the entire dancer. This bothered me the most
during "Be Italian." The stage full of dancers with tambourines was
genius but the audience is unable to watch every single dancer and it
loses some of its emphasis. The musical numbers seemed to be thrown in
very haphazardly and made the film very choppy and difficult to watch.
The music in this show is incredible. I listen to the soundtrack all the time. Daniel Day- Lewis, who was a fabulous and stylish Guido, really impressed me with his vocals. By no means is he a singer but he pulls it off in a way that reminds me of Johnny Depp in "Sweeney Todd" or, perhaps, Rex Harrison in "My Fair Lady." Marion Cotillard is a natural. After she took home the Oscar for "La Vie En Rose" I had very high standards and she did not disappoint. The same can be said for Nicole Kidman after her success in "Moulin Rouge." Penelope Cruz was delightful and sexy. Kate Hudson did a nice job with her song but her character seemed a little superfluous. Fergie was fantastic. She hit "Be Italian" right out of the park. Of course, Sophia Loren was beautiful and elegant as always.
Though the cast did well with what they were given, their star power wasn't enough to make the film a 10. I encourage you to watch it, however, simply because of the cast. But rent it, don't buy it.
NINE is far less than '8 1/2', the 1963 semi-autobiographical Federico
Fellini film about a harried movie director who retreats into his
memories and fantasies because writer/director block. In that
treasurable film Guido (Marcello Mastroianni) was seeking to make a
picture that goes beyond what men think about - because no man ever
thought about it in quite this way! It worked beautifully and remains a
favorite in art houses even today. That is probably why it was decided
to turn this story into a Broadway musical (Arthur Kopit, Maury Yeston,
and Mario Fratti) - lots of stagy glitzy glamour to make up for a
rather weak transformation of a plot.
The along come Michael Tolkin and Anthony Minghella with the thought that the musical may be strong enough to make into a film (not unlike the road to 'Chicago'). Rob Marshall stepped up to direct and selected 6 previous Oscar winners to fill the rather shallow cast of characters. The problem is that the story in the hands of these men becomes a monotonous one-note song decorated with so many splashy show-stopping numbers that for moments the audience forgets how dull the story has become. Daniel Day-Lewis is the moping Guido (not at all up the standards of the Broadway Guido of Antonio Banderas) who manages to sing his two songs gratefully disguised with cinematic flashbacks; Marion Cotillard almost makes us believe in Carla, Guido's beleaguered and emotionally abandoned wife; Penélope Cruz is quite stunning as his mistress Carla; Sophia Loren is Sophia Loren as Mamma - still gorgeous on screen; Nicole Kidman is Claudia, Guido's star; Judi Dench plays Guido's costumer and confidant Lilli, delivering the fine song 'Folies-Bergère' with style; Kate Hudson is a reporter who is able to belt out her own song; Fergie sings the main tune form the show 'Be Italian' with gusto; and Ricky Tognazzi is Guido's pushy producer.
With a cast such as this it would seem as thought he film would be a smash hit. The problem is that the pacing is boring, the songs sound like poor takeoffs on Kander and Ebb and the dance sequences are imitation Bob Fosse. Nothing original here - unless you're content with splashy overproduced stage numbers. Fellini would shudder!
*** This review may contain spoilers ***
Nine is a musical with Daniel Day Lewis in which he plays Guido Contini, a director. The film is a nice, old-fashioned musical that switches between Guido and very good musical numbers. The film is filled with gorgeous women, and features them singing great musical numbers. The best song is Be Italian, sung by Fergie. That said, all the women are spot-on in their songs. Lewis's story doesn't really have that much to the musical numbers, but it work. The story with Lewis is pretty cool, even if it does peter out towards the end. That said, the film feels authentic and it is entertaining. It can be brass, sexy, and is always visually stunning and entertaining. It goes from olden day to present day with great strength. The film is directed by Rob Marshall, director of the great films Memoirs Of A Geisha and Chicago. This is not as good as Chicago, but it works its way up to close enough. Many musicals have the weakness of not having a story, but just musical numbers. This is Nine's strength, that it does have a story, and that's what makes Nine worth seeing.
*** This review may contain spoilers ***
"Nine" is a beautiful film, a dazzling spectacle, a feast for the eyes.
However, while the eyes may be satisfied, the mind will not. "Nine" is
a prime example of a film in which nothing really happens, in which a
series of impressively choreographed, show-stopping musical numbers are
present merely to distract from the lack of plot.
Daniel Day-Lewis plays ne'er-do-well director Guido Contini, the creator of several well-loved films and a few more recent flops, as random characters repeatedly remind us. (Though this is a criticism of the original "8½," and not this film, I wish that the lead's name weren't so generic.) Guido tells the press that he will make a comeback with his magnum opus "Italia." Production begins in a week, and, as only Guido's closest confidants know, the script hasn't been written. Guido, it would seem, has a monster case of writer's block. Thus, he does what any of us would do: he retreats to an insular resort at which he distances himself from his wife and has yet another liaison with his mistress. And that's pretty much it. As anyone who merely looks at the list of songs in the soundtrack will realize, the movie never gets made, and Guido's life collapses.
The ever-versatile Day-Lewis plays the role of Guido surprisingly well. His singing, while not fantastic, is better than I expected. His accent is flawless, as is his acting. It's a shame, though, that the character is relatively stagnant; otherwise, he could have brought so much more.
Marion Cotillard, as Guido's wife, Luisa, is the real star of this film; if she is not nominated for an Oscar for her performance, I will scream. Luisa was once Guido's muse, and now as his dejected spouse, she has fallen from grace and has little left in her life, as her career has ended. In her two numbers, "My Husband Makes Movies" and "Take It All" (the latter an original song written specifically for the film), Cotillard brilliantly conveys the heartbreak and raw desperation of her character. She is at once a dream and agonizing to watch. Cotillard, apparently, originally auditioned for the role of Lili, but was cast as Luisa instead. Quite frankly, thank goodness.
Penélope Cruz plays the hyper-sexual Carla Albanese, Guido's, shall we say, mistress. (Cruz really has a knack for landing the seductress roles. I mean, first "The Good Night," then "Elegy," then "Vicky Cristina Barcelona." It's not a bad thing she's a fantastic actress but it is an unnerving pattern.) Cruz fails to disappoint; her character, after Cotillard's, was the most entrancing in the film. Her emotional pain was clear, and I found myself pitying her frequently. Pobrecita.
The always wonderful Judi Dench plays Lili, Guido's costume designer and unconditional best friend. What can I say about Judi Dench? She's always, quite simply, fantastic, and brings her typical understated sass to what would otherwise have been a tedious role.
Pop/hip-hop artist Fergie randomly appears in a flashback to Guido's youth as a um a seaside prostitute. Though that is pretty much her only scene, her very, very arenaceous song, "Be Italian," was the best song of the film. Passionate, erotic, rubescent the song is a show-stopper. Fergie reportedly gained twenty pounds to look more like her character, but I thought she actually looked really good with some more meat on her bones.
Kate Hudson appears in a mostly bit role as Stephanie Necrophorus, an American journalist for Vogue magazine. Though I usually disdain to even acknowledge her lowbrow films, she proves here that while she may not be the most talented actress on the planet, she can sing and dance really well. Channelling her mother with her heavy makeup, she serves as a five-minute distraction for Guido, and that's it. Her song, "Cinema Italiano" (which was another original addition to the film), is the catchiest and the most fun, and I found myself humming it as I left the theater. (That could have been the fact that it was reprised during the credits, though.)
Nicole Kidman, I will not hesitate to say, is one of my favorite actresses of all time. The role of Claudia Jenssen is an utter waste of her talent. Catherine Zeta-Jones was reportedly originally cast in the role, but when she wanted the part enlarged, and her wish was denied, she quit. Now I see why; while Claudia is referenced throughout the film, she seems to be more of an unseen character until her arrival more than an hour in. Even then, she only appears in a handful of scenes, sings a forgettable song, and disappears. It exasperates me to think that Kidman, an enrapturing actress, only has ten minutes of screen time. But for what it's worth, Kidman steals all the scenes she appears in.
A very heavily done up Sophia Loren plays Mamma Contini, Guido's deceased mother. Loren's character barely appears in the film, unfortunately. Her single song, "Guarda la Luna" (yet another original song), fails to entertain very much, despite its simplistic beauty. Loren's presence, however, is not to be ignored.
The reason I spent so much of this review discussing the actors is that they are the ones who made this film watchable. The plot is as thin as wax paper, and while the performances and dazzling musical numbers (all of which are presented on the same stage, which I thought was a nice, artistic touch) do a fantastic job of distracting audiences, they do not make up for the dearth of diegesis. Aristotle wrote in "Poetics" that the six components of a correct tragedy were plot, character, thought, speech, song, and spectacle. While "Nine" is not, in fact, a tragedy (and the part of "Poetics" that discussed comedy has been lost), the point is still apropos; "Nine" is heavy in spectacle and song and character, it is low in plot.
Daniel Day-Lewis makes a complete ass of himself in this movie. With the chain-smoking slouch, he resembles an aardvark scoping the ground for ants. Just two short years ago he stood waxwork-like in triumph at the Oscar podium and now this...I actually laughed out loud at his singing because he reminded me of Count Chocula. Never thought I would ever laugh at this man. This has placed an enormous chink in his acting repertoire and it makes you angry when someone who has been such an actor in the past turns in a caricature performance like this one--I actually have to agree with the majority of critics who panned this movie and his performance. To my surprise, "Nine" joins the ranks of two of the worst movies I have seen in my life,"The Blair Witch Project" and "The Private Lives of Pippa Lee." Rob Marshall sliced and diced this project into something that boils down to a Rockettes or Ice Capades marathon. If a musical is ever made of "Dracula," Day-Lewis could be perfectly cast in the title role. In "Nine," he reminded me of Bela Ligousi aping an Italian. Where is Hawkeye running half naked through the woods? It was unbelievable that a bevy of women would be besotted with Guido as portrayed by Day-Lewis. He is no Marcello Mastrionni. They should have held out for Antonio Banderas and another director. Defying further belief is Penelope Cruz's Oscar nomination for her portrayal of Carla. The only actor deserving that recognition in this floppo is Marion Cotillard. She alone brought any true sense of humanity to the film, elicited my sympathy and empathy. And Fergie was the only singer. Day-Lewis has loftily stated in the past regarding roles (that brought him greatest acclaim) such as Bill the Butcher and Daniel Plainview are characters who are the least like himself...scary thought...was he so rotten as Guido because they are most similar? LOL!
I for one didn't see Rob Marshall's 2002 best picture winner "Chicago"
as really musicals have never been my cup of tea. Yet when this similar
creation of "Nine" was released I gave it a watch mainly the interest
was due to the star power and the sexy female cast it employed. And I
must say I wasn't disappointed as the film was entertaining and a
stylish joy of tease and sex appeal, and true many knock "Nine" for
having to much glitz and splash over substance which is true. I still
found the work to have connection and emotional meaning as it's themes
of a man battling alcohol and women problems while he struggles to make
a film interesting and soul searching.
This tale once a Broadway musical is loosely based on the life of Italian film director Guido Contini's(Daniel Day-Lewis who hams it up)struggle with what should I say writer's block in 1965 as he is preparing to shoot his ninth film. Yet it's a little more than that as along the way Guido's personal struggles consist of a battle with the bottle while the biggest obstacles keeping him from moving forward are the ladies in his life who he just can't figure it's complex with both their obsessions and his. First up is his sensitive and demure wife Luisa(the talented Marion Cotillard)who feels tied down due to her husband's fame. Then enter his hot and sexy mistress the neurotic and beautiful Carla(Penelope Cruz who's an attractive delight as always). To add on top of that problem is the emotion and doting conversations of comfort he has with his aging mother(Sophia Loren)and Guido also looks for support and comfort in his loyal and informative costume designer Lilli(Judi Dench)while his biggest inspiration that he finds is his leading lady(what you call a muse)Claudia(Nicole Kidman as always beautiful and to die for)and magazine reporter Stephanie(Kate Hudson) who wants to take the reporting a little to far by trying to seduce him. Finally to round out these seven heavenly creatures is a spirit from his past boyhood Saraghina(Fergie) who's musical voice is a treat.
Each lady is treated to the pleasure of singing a tune or preferred Italian ballet as I should say which gives the film a lot of pump and makes it an entertaining joy. With all of those scenes "Nine" is clearly classified a musical on stage which overshadows Guido's search for answers with his problems of women and alcohol. Still those emotions of sick love hurting doesn't take away from the sexy appeal and spirits that the ladies of "Nine" give off especially the performance of Cruz is memorable and their talent is well in display on the gems they sing my favorite and most memorable one is Cotillard's "My husband makes movies". All along these spectacles of flashes and styles haunt Guido causing him to dream the outcome of a perfect movie in the making.
Really "Nine" in my opinion is one of the better films I've saw in quite awhile even if it's criticized for to much flash, style, and sex appeal as many feel the substance is to little. Yet I felt touched by the fun of Guido trying to dream the perfect movie as his struggles with emotions of battling the bottle and dealing with sexy women made him a character that a viewer like me felt some liking and compassion towards. Overall "Nine" is a real treat of tease and flashy style that touches inner emotions as you see it's important to dream as it can be fun in the process.
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