It's by no means a complete disaster, but 'Nine' is rather disappointing. Its got moments of greatness and some fantastic performances, and I feel like there's a good movie in there somewhere. However, it's undeniably slow at points and many of the musical numbers don't work, leaving me slightly perplexed and disappointed.
Guido Contini is an Italian film director who's life is unfulfilled and without purpose, at least he thinks so. As he prepares to embark on his next film project he finds him self dealing with the complex relationships in his life. Some of these relationships are with his wife, his agent, his mistress, his muse and his mother.
The story wasn't well structured and needed more work. There was more musical showcases than actual movie storytelling. Although they were fantastic and oozed erotica too many of those can usually confuse people and make it hard to keep up with whats going on. I will say that it was at least a 3 out 5 star film meaning that is still a enjoyable flick to watch
Penelope cruz's performance was very good and filled with vibrancy. Her singing was most impressive as was all the girls. Marion cottilard was also very good here. she played a key role here in the story and especially for guido's psyche. This was without a doubt the sexiest I've ever seen from all of these actresses's. Daniel day lewis was sensational here! to be able to pull off an Italian accent and sing in that very accent requires incredible talent and dedication! this is one of his more tame roles but he still put in the work to fully place himself in an Italian filmmakers shoes
Great art direction and costuming it has a under rated emphases on fashion here and everyone looked good in there outfits. Finally Nine had some impressive cinematography with decent editing. If you are at least a fan of any of these actors in the film I'd say its still worth checking out.
Das ist eine Geschichte, dass der Regisseur Rob Marshall gerne als Vorlage benutzt. Seine Figuren sind schrill. Auch ein bisschen durch den Wind. Die Farben und das Set sind bunt gestaltet. Auch viele Stars spielen in seinen Filmen immer mit. Aber am liebsten verfilmt er Musicals. Das sah man in den Filmen Into the Woods" mit Johnny Depp und Meryl Streep. Sein grösster Erfolg war aber Chicago". Dabei holte er sogar mehrere Oscars.
Leider ist diese Geschichte nicht ganz so gut ausgefallen. Auch wenn wieder viele grosse Stars mitspielen, bleiben sie nur an der Oberfläche. Daniel Day-Lewis ist einer der grossen Schauspieler, aber als feurigen Italiener kommt er leider nicht durch. Seine Co-Stars wie Marion Cotillard, Judy Dench, Kate Hudson und Nicole Kidman, bleiben auf der Strecke und wirken ermüdend. Die einzige, die ein bisschen Feuer im Hintern hat, ist Penelope Cruz. Man merkt schon, dass sie ein feuriges und spanisches Temperament hat.
Es ist zwar schön dabei zuzusehen, wie die Darsteller singen und tanzen. Nur leider war die Musikauswahl, auch nicht besonders gut. Die Lieder greifen einen leider nicht und man bleibt emotionslos.
Fazit: Ein Film mit vielen guten Darstellern, die leider in einem oberflächlichen Film singen und tanzen!
I think a lot of it has to do with the fact that "Nine" is an adaptation of the stage musical of the same name, which, in itself is a remake, or, at least, an homage to Federico Fellini's iconic 1963 film "8 1/2." I can imagine it working much better as a play, where musical interludes can flow in and out of the area with ease and where melodramatic artifice is relatively expected.
But as a movie, "Nine" pays more attention to where it comes from than it does to its source, capturing none of the color left behind by "8 1/2." Its lack of an emotional tug causes one to question whether it actually has to be filmed as a musical at all - we often times find that, just as dramatic scenes are beginning to gain momentum, interruption is caused by the inclusion of a performative dream world. It's a maddening case of a good film buried underneath a mixed up, persistently fallacious one.
A major point of concern also comes from the casting of Daniel Day-Lewis, who, by no means, gives a bad performance - he is just miscast, to a distracting degree. An English method actor portraying an Italian director? It doesn't work. (I echo the sentiments of Roger Ebert, who suggests Javier Bardem or Gael Garcia Bernal in the role.) Day-Lewis plays the film's protagonist, Guido Cantini, a filmmaker who has touched greatness in the past but has begun the process of slipping in recent years. His latest, titled "Italia," is without a script or any form of a concept - and though his muse (Nicole Kidman) is ready to headline, it soon becomes obvious that he's using the project as a way to shield himself from the harsh truths of his personal life.
His wife, former actress Luisa (Marion Cotillard), is growing tired of the way he selfishly moves about life, caring about his happiness, his love, but not hers; his mistress, the fiery Carla (Penélope Cruz), has been with him long enough to crave commitment, tiring of late-night rendezvous and ready for a relationship they can celebrate openly. Audiences bombard him with declarations that they love his older movies, not what he has to say today.
So as doubts pile and concerns from his colleagues mount, Guido soon finds himself in the midst of a midlife crisis. Though he would rather die than admit it, pausing his professional life and taking a second to reflect on his personal one might be the only way he can claw his way back up to the top. The path is treading down leads to self-destruction, and a talent so great cannot waste artistic merit.
"Nine" has the workings of a gigantically investing storyline (just look at the greatness of "8 1/2"), but Rob Marshall's unwise decision to take musical sequences to completely different locations causes the continuity of the film to suffer. While the best examples of the genre put a spotlight on the tireless trope of a character's ability to suddenly break out into song, song-and-dance numbers are located on what appears to be a stage, completely separate from the scene in store and therefore diminishing our interest in what was happening before it. Worse, the songs are graceless (the lyrics directly reflecting the situation in awkward poetic nature rather than utilizing the art of the metaphor), the choreography coming with them slightly inspired but, more often than not, too stagey, too (pardon the term) corny.
The film would be better off as a straight drama with a more fitting leading man - if being a musical is too desperate a thing, more sequential would be numbers that take place within the same world the characters live in, not somewhere floating in a fantasyland of masterful set design.
But movie isn't all wasted potential, and that's due to its women, who are the best thing about "Nine." With the exception of Kate Hudson and Fergie, who stun with their singing talents but are ultimately pointless (the writers' fault), the actresses are phenomenal. Penélope Cruz, Oscar-nominated for the film, makes a bold impression, especially in her Rita Hayworth on acid musical sequence, and Marion Cotillard, who dreamt of making a Hollywood musical for years before the film's release, proves herself to be a sublime singer while also stretching her abilities in American cinema. Kidman is chic and solid as Guido's toothsome muse, Judi Dench is believably wise as his concerned personal assistant, and Sophia Loren causes one to desire she had more screen-time as our hero's mother.
Everything else about "Nine," however, needs work - we're left feeling rather empty because we can imagine the film it might have been had it been directed and written by people with steadier humanistic touches and a lot less of an obsession with making things big and bold. Still, the actresses are ridiculously good, and I'm not planning on discounting their work anytime soon just because the men surrounding them don't seem to know what the hell to do with them.