“Nine” is a musical that bowls you over with penance and energy. It doesn’t have memorable songs like “The Sound of Music” or “West Side Story”. It does however have an electrifying cast that does its best to bowl you over. For the most part, it does succeed.
“Nine” is based on a 1982 Broadway musical. That musical was inspired by the classic Fellini film “8 ½”. It was revived with great fanfare in 2003 with Antonio Banderas in the lead. “Nine” tells the story of famed Italian director Guido Contini (Daniel Day-Lewis) and his attempts to make a new movie. He has problems brewing though. His last two films were flops and his producer is antsy for another hit. Guido is also entering this project without the script. That’s never a good thing.
Guido draws a lot of inspiration from the women in his life. The first musical number introduces them in their entire splendor. You have his dearly departed mother (the luminous Sophia Loren), his loyal wife Luisa (the fabulous Marion Cotillard), a local prostitute from his youth Saraghina (Fergie), his longtime dependable costume designer Lilli (Judi Dench), his demanding mistress Carla (Penelope Cruz), his on screen muse Claudia (Nicole Kidman) and a flirtatious reporter from Vogue named Stephanie (Kate Hudson). Day-Lewis delivers the stellar “Guido’s Song” after their introduction. Day-Lewis shows that he isn’t out of his league in the singing department.
Guido though is having a breakdown. His screenplay is not coming together and he is being pulled from every side. It doesn’t help that practically everyone calls him maestro and that furthers strokes his ego. Culture and fashion were flourishing in Italy in 1962 when the film takes place.
Director Rob Marshall has been through this dance before with the Oscar winning “Chicago”. Marshall goes more for style over substance in “Nine”. Fellini’s film “8 ½” was more dream like, dense and at time impenetrable. It also was one of his best films and it requires multiple viewings just to get all of the nuances. “Nine” is definitely more accessible and easier to follow. It also makes it less memorable.The main thing that makes a musical work is of course the songs. In “Nine” the songs are more in the moment types of affairs. You get drawn into them, but you probably won’t be humming them after you leave the theater. There are a few that stand out above the others.
Kate Hudson surprisingly delivers the best song, “Cinema Italiano”. It best captures the feel of one of Guido’s films. It shows the fashions and the sights. Hudson enthusiastically dances the number with solid vocals.
Cotilland has two great numbers in “Nine”. Her best is “Take It All”, which describes what Guido is missing out by him stepping out on her. It is heartfelt and fierce. Fergie equips herself nicely to films with “Be Italian”. She gets to belt it out with gusto.
Cruz has a sultry number with “A Call from the Vatican”. It will be sure to get temperatures rising. Loren and Dench also have some fun with their numbers. It is nice to see Loren gracing the screen again after five years away. Hopefully she will not take as long between projects.
Curiously, Kidman comes off the worst of the actresses. Her musical number really doesn’t inspire or invigorate. Her lack of screen of time doesn’t help matters. It does seem odd the muse that has inspired this director all these years makes the least amount of impact.
The story of “Nine” is of secondary importance. The character of Guido might be universally loathed by the end of the picture and any type of redemption might not turn these feelings around. Day-Lewis at least makes Guido interesting and his plight somewhat compelling. Guido has all the adulation in the world, but he just basically wants peace of mind. The journey he takes is worth checking out.
“Nine” is a sexy and energetic musical romp through early 1960s Italy. It may not stick with you for an extended period of time, but you will enjoy the ride.
