Rob Marshall’s film Nine explores both the glamour and the gloom of an Italian man, his career and his women. Dazzling musical numbers are paired with dramatic relationships to make the film more of an artistic show than an emotional ride.
Nine begins as Italian superstar director Guido Contini (played by an endearing Daniel Day-Lewis), attempts to reignite his career. However, he delays his script-writing by fanaticizing about his personal life and reminiscing about his past.
Ultimately, Nine is the story of a man and his women—the women who tempt him and guide him, his inspirations and downfalls. The women in Contini’s life include an all-star female cast of Marion Cotillard (his wife), Penélope Cruz (his mistress), Nicole Kidman (his muse), Kate Hudson (his enthusiastic fan), Judi Dench (his voice of reason), Sophia Loren (his mother) and Fergie (his childhood teacher on temptation.)
It’s hard to dislike Daniel Day-Lewis, despite his character’s dishonesty and weakness for women other than his wife. He plays into the charm of his character: the handsome, romantic Italian man. The clincher for his likability is the helplessness revealed when he turns to his costume designer (Judi Dench) for reassurance and advice, not to mention his affinity for his deceased mother (Sophia Loren).
In spite of, or due to, the many relationships interacting throughout the film, there is no central love story. The limited screen time for each actress leaves you wanting more from some storylines, and perhaps less from others. Nicole Kidman’s tears paired with her decadent gown and jewelry is reminiscent of her emotive performance in Moulin Rouge. It was unsatisfying to only see her for one brief musical number as she lamented her complicated relationship with Contini. On the contrary, Marion Cotillard’s two musical performances, while entertaining and aesthetically pleasing, leave the viewer wanting for an emotional connection between her and her husband.
As for artistic direction, Nine shines for its ability to make every shot “like a postcard” (as said by Kate Hudson’s character says about Contini’s movies.) Each scene is colored to reflect a mood and evoke a feeling as well as a sense of place. The storyline in the present is portrayed in normal cinematic style, which contrasts nicely with the blurry black and white of the past. The scenes of Contini’s imagination include impressive cabaret style musical numbers, which are all glittery costumes and lively dancing (and appropriately dark when necessary.) The visual chaos of light, color, and movement create an artistically pleasing representation of Contini’s mind.
Due to its chaotic nature and reliance on musical numbers, Nine was certainly meant for the stage. Although the music was catchy and the dancing was rhythmic, the interspersed story snippets make the viewer feel a little empty, unfulfilled, and not quite immersed in the film. Overall, Nine does a fine job of showing Italian art, but falls short in fully feeling Italian romance.
22 Jump Street (2014)
9 years ago
I like how comprehensive this article is. I learned a lot about the film that I didn't already know, and as a journalistic piece I think that's an important task that you accomplished quite well. I like how you ended the article by drawing a distinction between Italian art and Italian romance, but I'm curious as to what your and this film's answers are to the question you pose in the article's title. At the end of the article, I was looking for some kind of answer, and though informed and interested to see the film, I would have liked to have read your thoughts on your question. I think the second to last paragraph is also really strong, with a good use of quotations from the film to support your point.
ReplyDeleteI agree with Jon about the title, perhaps a change could help with that. While I enjoyed some of the musical numbers, overall I was left feeling like you, "empty, unfulfilled and not quite immersed".
ReplyDeletePerhaps you could have delved a little deeper into the fact that it's a film about a man and his women but there is no central love story (does it intend to have one and fails? or did it not include one on purpose?).
I agree with your comment about Kidman & Moulin Rouge. Also, was it just me, or did her singing improve since Moulin Rouge? In the end, I felt Nine ended up filling the void between Moulin Rouge (a production about a production) and Chicago (where all the musical numbers are in people's heads).
I like that you included the plot summary towards the beginning so that those who haven't seen it know a little something about the film. I think you had a really good transition into talking about the characters and their screen time, and how your opinion fit into that. I agree with the comment above that talking a little bit more about the "no central love story" part of your review because that's really interesting, seeing as this movie involves so many (scandalous) women and Guido's relationship with all of them. I like your analysis of the artistic direction aspect of the film, about the scenery, storyline, lights, movement, etc. I think it's a very well-balanced review, and it all comes together in the last paragraph with "Nine was meant for the stage," but how it definitely falls short in realizing its full potential as a musical and makes the audience feel empty. Good way to end it. Great Job!
ReplyDelete-Emily
I agree with the previous posters and it seems like you got a really good feel for the material in the film, especially on Guido, Daniel Day-Lewis' character. The point about helplessness is something that I haven't seen really commented on much about Italian men. One question, I would ask though is why would "The chaotic nature and reliance on musical numbers" relegate it to the stage? Chaotic nature is something that we see often in modern film and musical numbers have been in films since the earliest talking films and often been incorporated into the film flawlessly. Would that then be this film's biggest film: a failure to do that?
ReplyDeleteYou write persuasively, with an engaging balance between the general and the specific. I especially like your observation that Daniel Day-Lewis' character successfully garners the audience's sympathies. I think that here, and throughout, your review appeals and makes sense to people who have and have not seen the movie. I think that you could link your arguments more closely to lend the piece more continuity, but I enjoyed the fullness you achieve in so few words.
ReplyDeleteI agree with Joel in that you totally understand the deeper meaning of the film. Your beginning and endings are strong and I feel as if I have seen the movie without you ruining the end for me!
ReplyDelete