NINE - The Movie Musical - Review Thread- Page 8

[jacobsnchz14]

Posted: 12/26/09 at 8:45pm

Just got back from seeing the film. Most of what I was going to put into my review, Best12Bars already noted. I have never "seen" anything of Nine except reading the book my drama teacher has from Samuel French. The score, I have always believed, was fabulous. Anyway, what I found a tad bit annoying in some scenes of the movie was the little boy who played the younger version of Guido. At first it was cute to see him run around on the beach with Saraghina, but the thing I really didn't like was, in the end, when he ran to Guido and told him that "they were ready". It felt just odd that he runs in there, says his line, and runs off. That was probably the only thing that I didn't really love. I liked the idea, though. My absolute favorite parts were the Overture Delle Donne and the Finale! My goodness! Seeing the finale, (spoiler) as if it was a curtain call, really made me want to clap in my chair and stand up! I just love the way how both were "staged" because it kind of reminded me how Hairspray and Chicago had their little "final moment" with each character. The movie overall seemed a tad too rushed. I keep asking how some movie musicals are over 2hrs or 2.5hrs and other movies (like Nine) are shorter? Is it the money involved to make it longer? I always ask but never get a straight answer. I would have also liked to see a little more character development and maybe another song or two. I would definitely recommend this film. I don't ever go into a movie with expectations; I try to just live in the moment and enjoy the entertainment. This definitely was, to me, enjoyable. Cannot wait for the DVD in April! :)

Rating: 8.5/10
Updated On: 12/26/09 at 08:45 PM

[AwesomeDanny]

Posted: 12/26/09 at 9:23pm

I just got back from the movie and I thought it was really good. My only previous exposure had been listening to the revival CD, reading the screenplay online, and watching clips online, so I couldn't really compare it to the stage version. I thought the cinematography was the strongest point of the movie with the score second. I thought the black and white was an interesting idea and I was relieved to see it wasn't overused. I loved just watching the opening "la la la" song. Fergie was surprisingly great, and Marion Contillard gave the best performance of the movie. Daniel Day Lewis was just what I expected, but I wanted more. I don't think he was as lively as he could have been. Penelope Cruz wasn't my favorite, but she didn't have much to do, really. Kate Hudson was a great singer, and I think that if her song wasn't needed, then Fergie's song wasn't needed. I didn't get the point of Guarda la Luna, but if they cut those songs, the movie would barely have any music. I thought Nicole Kidman was pretty good, but she didn't have much screen time. I thought Judi Dench was good in her scenes, but I didn't like the tone of her voice in her song. I think this was my second favorite movie released this year (Harry Potter being first... I'm just obsessed), and while I haven't seen many of the type of movies that get Oscar nominated this year, I think this definitely deserves a nomination for Best Picture and for Cinematography if there is an award for that... I don't really watch the Oscars so I don't know. Overall, I was very content with it, but I think something could have given it an extra oomph to make it perfect. Maybe an extra song they cut, or trimming of a scene. I give it three stars.

[TheQuibbler]

Posted: 12/26/09 at 10:02pm

I found the biggest flaw was how the screenplay treated Guido. The audience is given no reason to like him, or even care for him. I found it nearly impossible to understand why so many women would be entranced by him. Day-Lewis has charm, but not enough to overcome the weakness of the script. As the film progressed, I care less and less about his film. With the elimination of The Grand Canal and the focus placed instead on his complete writer's block, the story has no forward motion, leaving it hanging on screen. Whereas the show, even though it doesn't have much more of plot, always has a feeling of moving towards something.

The pacing, as best12bars mentioned, is all over the place. The numbers look fantastic, but I again with best12bars with the misplacement of "My Husband Makes Movies." The song serves as exposition but is redundant in the film. There seems to be a lack of urgency when the songs come up. With a few exceptions, they emerge randomly and not out of necessity.

To me, most of the fault lies with the screenplay and not with Marshall (though, I admit, it's often hard for me to draw the line between a bad screenplay and bad direction).

[James885]

Posted: 12/27/09 at 12:18am

I just got back from seeing it. The theater I saw it in was less than 50% full although nobody walked out. The audience response was pretty tepid though, with no applause after any of the musical numbers.

I've never seen the stage show, although I do have the original cast recording. I thought the movie was merely okay. It wasn't too good, but it wasn't too bad either.

The overture and the finale were the best parts of the movie by a longshot. The musical numbers were well produced, although I hated how many of them were so chopped up and interrupted by dialogue. But my problem is that the numbers seemed almost extraneous. You could cut some of them (like "Cinema Italiano) and the film would be unaffected. But they all are well staged, and "Be Italian" IMO had the best staging.

The screenplay is problematic. Guido is poorly written, is given no redeeming qualities and after a while you get tired of watching him sulk. He has very little character development and his background is never explained, so you don't ever really get to know the story behind him. In fact, none of the women, except for Cotillard's character are really developed. The movie seemed a bit incoherent and disjointed. I though Kate Hudson's character served virtually no purpose. She pops up midway through the film, sings her song and then disappears until the end.

Cinematography, production design and art direction was excellent. I'm sure it'll earn quite a few tech nods at the Oscars.

Marion Cotillard was outstanding. Loved "My Husband Makes Movies". Daniel Day-Lewis was also good, although I don't think his performance in "Nine" is one that people will be talking about for years to come, like his recent performance in "There Will Be Blood". He does however deserve credit for rising above the flawed screenplay.

The rest of the cast turned out good performances as well.

Cotillard deserves a supporting Oscar nomination. Day-Lewis will probably get one as well. I'd expect that the film will likely get as Best Picture nod as well since there are now ten slots, although I'm not holding my breath for it to win.

Overall I'd give the film 3 stars out of 5.

Updated On: 12/27/09 at 12:18 AM

[BNN2]

Posted: 12/27/09 at 12:35am

I keep hearing how Cinema Italiano should be cut, but I just want to throw in my two cents.

I understand how it could be cut and not change the story, but as Hudson's character makes clear in the press conference, she's only concerned with image and visuals, which is why Guido responds with his "what's on the inside" answer to her "favorite designer" question. Thus, when he's about to sleep with Stephanie or whatever, her number I suppose pushes him towards the revelation about how he should clear his conscience or make everything right on the inside, rather than worry about how the public sees hims, how he sees himself, etc.

It's a stretch but I would argue that the full number could be cut, but I think he needs that moment to realize how superficial he and his movie has become. Plus, her number is fun!
Updated On: 12/27/09 at 12:35 AM

[best12bars]

Posted: 12/27/09 at 1:03am

I agree with those who are saying we could have seen more of Guido's charm or at least his attempt to charm others. He has next to NO sense of humor about himself in this movie. Most of that evidence in the stage show is in the Grand Canal sequence, and the lead-in patter singing he does with his producer when he's trying to describe a plot to his latest movie. They could have kept bits of both in, which are funny, or written something new for him and his wildly ambitious "Italia" idea. He does have a producer in this film to bounce the improvised ideas off of. Even if it's not Lili (or Lillianne).

I didn't have any trouble with Guido's charisma, though. Just his general demeanor. I can easily see why each of these women is attracted to him. I have seen many beautiful women pursue men a lot less desirable than Guido, simply because the men are famous, rich, talented, or attractive. Guido happens to be all four. Why wouldn't they decide to pursue him?

But we should be charmed by him in order for us (in the audience) to care what happens next. Otherwise, it does make these ladies seem rather superficial and opportunistic in their pursuit. And other than the fact that he is a very famous director who employs many of them, we don't see examples on-screen for a reason to like him.

Guido is portrayed as having such a serious demeanor with very few laughs or light moments along the way. Especially with Carla, which was a missed opportunity. Despite Penelope Cruz's great charm and humor, Guido is fairly joyless during their trysts. We can only assume their relationship was happier at some point in the past. And we can only assume that ALL his relationships were happier in the past.

I was still pulled into Guido's plight, because I feel sorry for people who come to such a crossroad (or a total standstill), whether or not they bring their sense of humor along for the ride. And I thought Daniel's acting was terrific.

Updated On: 12/27/09 at 01:03 AM

[best12bars]

Posted: 12/27/09 at 1:13am

I don't agree that Stephanie's number is extraneous anymore than all of the numbers or scenes in the movie are extraneous.

This is not a plot-driven film (just like many of Fellini's masterpieces were not plot-driven). It's Guido's episodic journey into a midlife/career crisis. Consequently, most episodic scenes or songs could be cut without leaving a fatal plot hole. However, I think that each woman (whether in scene or in song) shows an issue or "demon" that Guido is struggling with in his life. Including Stephanie's "all style" extravaganza.

Updated On: 12/27/09 at 01:13 AM

[spiderdj82]

Posted: 12/27/09 at 1:14am

OH, I forgot to mention. About 30 minutes into the movie this group of people walked out. That left about 5 of us in there. lol

[best12bars]

Posted: 12/27/09 at 1:22am

It's a very expensive, all-star, Hollywood musical version of a foreign-language art house film.

Even if it didn't have some problems with its execution, it would STILL leave the majority of movie audiences today scratching their heads and checking their watches. (or heading for the exit)

I'm glad they made this movie. On the whole, even with the issues I've mentioned, I still think it's a creatively successful film.

But it ain't for everyone. And "midlife crisis - the musical" never will be.


EDIT: Humor would have been a universal bridge to help audiences identify with and root for Guido. They cut nearly all of his humor out.

Updated On: 12/27/09 at 01:22 AM

[StickToPriest]

Posted: 12/27/09 at 3:29am

Best: You articulated most of my thoughts about the movie. I loved it, and I am perplexed by the level of trashing it has received both from critics and people I have talked to about the film.

[AwesomeDanny]

Posted: 12/27/09 at 12:47pm

Best12Bars--describing "Nine" as "midlife crisis-the musical" was particularly humorous to me because there is a musical a theater near me is performing this spring called "Midlife: the Crisis Musical". Not sure if you were making a pun of that or not because I barely know anything about the show and how well-known it is.

[best12bars]

Posted: 12/27/09 at 12:55pm

When audience members (myself included) disengage with a movie, they tend to pick it apart. They aren't forgiving. If Guido had been more likable, self-deprecating, and humorous, I don't believe this film would be taking so many critical bashes.

But "mysterious" Italian charisma, posturing, and chain-smoking aren't compelling enough character traits alone to pull people into a protagonist like Guido.

I keep thinking how Woody Allen made a string of successful films about writer/directors (aka "himself") in midlife turmoil, while struggling with creative hurdles and romantic partners. Humor was the key reason audiences connected with these movies and with him. We could forgive his flaws, his "believability" as a desirable leading man, his poor and often crazy decisions, and the women who clearly loved him regardless, because he made us laugh and pulled us along for the ride.

Those movies were "hits," too, and crossed age and other demographic barriers, won Oscars, and did pretty well at the box office (okay, they cost a fraction of what "NINE" cost, but still they made money ...)

[Jane2]

Posted: 12/27/09 at 1:01pm

"But "mysterious" Italian charisma, posturing, and chain-smoking aren't compelling enough character traits alone to pull people into a protagonist like Guido"

It worked for Marcello Mastroianni though, Besty. He had the charisma that Day-Lewis lacked.

[best12bars]

Posted: 12/27/09 at 1:02pm

re: "Midlife Crisis - The Musical"

AwesomeDanny---I had no idea! No, that was just my own summary of NINE.

[best12bars]

Posted: 12/27/09 at 1:08pm

"It worked for Marcello Mastroianni though, Besty. He had the charisma that Day-Lewis lacked."

Two thoughts on that: We live in different times now, and people aren't as impressed with a retro-cliche like Guido Contini today. They would want to punch him more than embrace him. And Mastroianni did more than just brood and smoke in 8 1/2. There was time spent with Guido's emotional journey. More focus on him ... and less showcasing of his women.

In NINE (the movie adaptation), the women are the excitement and the focus. Guido is the pouting observer. Bad move, since he's the one who has to draw us in.

And I know you'll agree, Jane, that Daniel Day-Lewis CAN be plenty charismatic. Just not so much in this movie, unfortunately (and for you, not at all!).

Updated On: 12/27/09 at 01:08 PM

[wickedfan]

Posted: 12/27/09 at 1:13pm

For what it's worth, Richard Roeper loved it:
http://www.richardroeper.com/

[best12bars]

Posted: 12/27/09 at 1:30pm

I'm glad he liked it, even if I think Roeper is generally a putz.

It's interesting to me that someone in "marketing land" for the movie NINE realized that Guido's humor was key to selling this film. The third trailer for the movie was cut in such a way to emphasize what was actually DE-emphasized in the adaptation of the non-musical scenes.

If only the tone of the film had played the way this trailer does. They even re-edited reaction shots and dialogue to construct some of the missing laughs. Hell, Nicole's "I might bite you" line isn't even in the film, neither is the shot of Cotillard telling him that he's "too busy inventing his own life" (the line is in the movie, but the camera is on Guido's face then), so they used some deleted footage, as well, here.

I think NINE would be wowing audience a lot more if they had taken this approach with Guido and his journey.

Even the last line of this trailer is Dench saying, "Why must it be so serious? There's nothing wrong with making people laugh a little."

Word, Judi. Especially with a subject matter and protagonist like this.

http://www.youtube.com/watch?v=APivP4ScvOw

Updated On: 12/27/09 at 01:30 PM

[Brick]

Posted: 12/27/09 at 1:35pm

I saw it.

Very disappointing. And mostly because there are some very nice moments and some great performances searching for a film.

I have to agree the biggest mistake Marhshall made was keeping his conceptual approach from CHICAGO. WHy on earth do these numbers have to take place on the soundstage, let alone in Guido's mind, if Marshall already invokes Fellini's surrealism throughout the film. So, the audience can suspend their disbelief when Guido's dead mother appears and disappears from a scene, but we won't buy people singing?

The song that suffers the most from this treatment is "Be Italian". My date said the number was so boring. I had to respond, "Marshall forgot the point of the number isn't a chair dance." It's a memory, why can't Fergie just sing the song in the memory? By moving the song and performance indoors, Marshall forgets what the scene is about. It isn't about Sex; it's about Guido (and in the original production, others as well) learning about sex. And a musical number must move the plot forward within the number itself. So, moving Fergie away from the boys, so she can do a chair routine with 2 dozen more scantily clad women, ignores the purpose of the song and stops the story cold.

Some numbers could have been on the soundstage, sure. But perhaps they should have happened where Guido saw them. Having numbers explode from reality would actually be closer to Fellini's sensibility since Guido, as Fellini, would see the beauty, the surreal, the exceptional in the ordinary around him.

The screenplay is essentailly 8 1/2, with the songs from NINE added. The problem is, to make 8 1/2 in America today, they filled in some narrative along the way to give the film more of a forward-driving narrative. And this only make the plot seem thinner.

So, it's a watered-down 8 1/2 and only one act of NINE.

And the critics who've complained the film doesn't sound very Italian and doesn't feature any great songs have a point, as the film mangled Yeston's score. Cutting many of the songs is fine. It's a film. It's an adaptation. CABARET did it and was all the better for it. But it replaced it with songs that are arguably better. Hudson's "Cinema Italiano" is fine, though unneccesary. (At that point in a film, if your audience is wondering about the style of film Guido would make, you have bigger problems.) Loren's new tune is forgettable. Coilltard's "Take It All" is the best of the new songs, yet the strip-tease is another burlesque song in a score that already have a bit too many for the style it should be.

The poor voices of many of the actors also hurts the score considerable. Onstage, the score has a European sensibility, if not always specifically Italian. But when Daniel Day Lewis or Penelope Cruz talk most of the their songs, they mangle the melody. Many have complained about Kidman's "Unusual Way" and while I think she does fine by it, the song is ravishing onstage and only pretty on film.

And lastly, a huge concern mentioned last because the others were even more disastrous: Daniel Day-Lewis is horribly miscast. He does the best he can, but there is nothing Italian about him. Nothing. No passion, no charm, no guilt, nothing.

The film is pretty, I'll give it that.

[James885]

Posted: 12/27/09 at 1:39pm

According to Box Office Mojo, Nine's estimated gross this weekend is about 5.5 million, landing it in the number 8 spot in the top ten grossing films this weekend.

I wonder if it would've had a better opening if they'd kept the original release date. The competition was pretty tough this weekend, with three high-profile movies opening. Then again this film was never going to be an easy sell and it really needed a lot of rave reviews to help it find an audience.
December 25-27 box office

Updated On: 12/27/09 at 01:39 PM

[nealb1]

Posted: 12/27/09 at 4:01pm

The whole point of the movie is for Quido to be inspired so he can create his film. It makes total and complete sense for the musical numbers to take place on the sets of his forthcoming film. That's where all his concentration needs to be.

It's the best film I've seen this year. Have seen it 3 times all ready, and I'll be seeing it again this week. Updated On: 12/27/09 at 04:01 PM

[matineeidol2013]

Posted: 12/27/09 at 4:15pm

I saw Nine last night as well...I feel like many on this board do: I wasnt completely displeased, but the movie is far from flawless.

I actually loved that each number took place on the soundstage and in Guido's head. I think having the numbers done that way allows for the glitzy production numbers with all the great costumes, choreo, ect. (lets face it, people would have responded even worse if Guido is in the costume shop,and all the sudden girls pop up from under the tables and begin dancing) The Overture was my absolute favorite part of the movie, and Follies, Call from Vatican, and Guido's song fared well being filmed on the soundstage. I was wondering, would this effect have fared better if numbers only took place on the soundstage when guido was physically at the soundstage?

My Husband makes movies made no sense being fimled in Guidos mind, nither did take it all.

My main issue with the movie was the development in general. the idea of guido filming a musical should have been used (i mean, it would have allowed for a production number that made sense NOT taking place in guidos mind) and I do agree that guido should have actually began the movie. that would have made us sympathize with him more once things turn 100% sour; Guido would have actually been working toward something. The relationships wearnt fleshed out enough by any means, and I felt myself unsympathetic when Luisia left Guido.

Stephanie and Cinima Italiano should have been cut, that 5 minutes that Hudson was in the film could have been used for more valuable development (even though watching Guido leave her hotel room and vie against sex with her was a nice moment)

The diolouge during Unusual Way was too complex for its own good.

Poor Nine. If they would have followed the musical's story line a bit more the film would have fared much better.

[jacobsnchz14]

Posted: 12/27/09 at 4:25pm

For those of you (probably ALL of you) that loved the Overture Delle Donne sequence, you can download the video of it on iTunes for FREE!

https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=347391718

If you try to sync it to your iPod, it will not work because the file itself is a ".mov" file. However, if you have iTunes 9 (the latest), you can right-click the file and click on "Convert to iPod or iPhone..." and the new file will appear in your Movies section of iTunes and it wil be able to put on your iPod. I am watching it right now!!!

[jacobsnchz14]

Posted: 12/27/09 at 4:27pm

LA Times says that the movie is a Box Office "flop"... if they had put the movie into more theaters, I think it would have made ALOT more money. IMO. It didn't even get past "Princess and the Frog" on the chart; which has been out longer. There is only one theater in my local mall that was the closest place to see it. I go there all the time, but I would have rather went to a closer theater.. there are 2 in my area that didn't have the movie.

[best12bars]

Posted: 12/27/09 at 5:08pm

jacobsnchz14---Thanks for posting that! Such a brilliantly staged, exciting sequence! Warts and all, I REALLY did like this film. Seeing this Overture again only strengthens my feelings for it.


And I don't mind one bit that it takes place "in his head." matineeidol2013---You did a nice job explaining why it's appropriate.

[miss pennywise]

Posted: 12/27/09 at 5:11pm

I have not seen the movie NINE, so my comment is not about Daniel Day-Lewis's portrayal of Guido. But I do have to say that agree that Marcello oozed charm...even though he was a total cad in 8 1/2. I've seen that film over 50 times, most recently about a month ago. Guido is a totally selfish, self-absorbed, ego-centric, lying, cheating fraud of a man, but Marcello STILL makes me love him. I don't think it has anything to do with "times" being different. Marcello was brilliant in that film, which, as we all know, was directed by Fellini, about Fellini and "in the style" of Fellini.

NINE will never be any of these things, of course. So there is no direct, personal connection in the creation of the film. I do believe, generally speaking, that an actor's performance is greatly dependent on the direction and the director's relationship with the actor. It sounds like Marshall's vision for Guido is well-executed by Day-Lewis, but simply lacks any of the heart Fellini was able to infuse in his Guido.

I am so on the fence about even SEEING this movie. To me, 8 1/2 IS a musical, and I'm just not sure I want to see someone else's version of a masterpiece. I mean, I have 3 top favorite movies of all time, and 8 1/2 is one of them. I'm afraid. Very afraid!