NINE
US, 2009, 118 minutes, Colour.
Daniel Day Lewis, Marion Cotillard, Penelope Cruz, Nicole Kidman, Judi Dench, Kate Hudson, Sophia Loren, Fergie (Stacy Ferguson), Ricky Tognazzi.
Directed by Rob Marshall.
This reviewer was well disposed to liking Nine because of his admiration for the film on which it is based, Federico Fellini's 8 ½, very high on his list of all time great films. Fellini created a memorable character in Marcello Mastroianni's Guido, a director in the 1960s who has writer's block. He is also entangled with a number of women, his wife, Luisa, his mistress, Carla, his cinema muse, Claudia, his mother, and memories of Saraghina, a large woman on the beach of his childhood who initiated the young boys into the mysteries of sexuality. Fellini, drawing on his own experience, created a complex portrait of a man in emotional and career crisis.
Upping the ante by ½, playwright Arthur Kopit adapted the film for Broadway and Maury Yeston wrote the songs for this musical version. It opened in 1982 and won the Tony for Best Musical of that year.
Now, almost 30 years later, Rob Marshall, who directed Chicago and Memoirs of a Geisha, has brought the play to the screen and acted as one of the choreographers. It is a lavish production and has a very starry cast, especially the women, with Daniel Day Lewis as Guido.
There has been quite some dismay that it did not set the box-office alight as Chicago did. But, given the Fellini origins and the musical's following the outline and some details of 8 ½, what is called an art-house film, one might really ask just who is the potential audience for the film. It isn't the broad audience who wants to have alight night out see a musical version of Legally Blonde. It isn't the audience that wants a show with toe-tapping rhythms and tunes (though the belting out of Be Italian does have its moments). It's the audience who admire 8 ½ (who don't necessarily approve of a musical version of it) or who respond well to something offbeat and arresting.
Nine is offbeat and arresting. It continues to be set in the 1960s though two years after the release of 8 ½. It is, despite the showbiz glitter, very Italian in tone and accent. And it is rather downbeat over all with Guido experiencing a breakdown, hurting the women in his life and having to re-assess himself and admit that he is callow, philandering and becoming emotionally and morally bankrupt. Fellini's film ended with all the characters joining hands and dancing in a large circle of life to Nino Rota's score. This exuberance is missing from the end of Nine but an arresting substitute is presented as a rejuvenated Guido returns with all his leading ladies on the sound stage as he begins a film on his experience, looking like the opening of the film of Nine. And, alive again, he calls, 'Action'.
Needless to say, no expense has been spared on lavish theatrical sets nor, especially, on the musical numbers. These songs and performances contribute to the plot development but are principally a showcase to introduce and explain each of the characters. The musical style is very different for each of them, big numbers, monologues, showstoppers, recitatifs. While most of the cast are not well-known as singers, their acting abilities bring the songs to life.
Daniel Day Lewis is an actor who immerses himself in each role and is completely different from film to film. His last was the Oscar-winning performance as the ruthless oil baron in There Will Be Blood. Here, replete with broken English accent, he embodies the Italian director, his talent and his waywardness. The women are all good, each in their own way. Marion Cottilard, who won her Oscar for portraying Edith Piaf, is Luisa and has two songs, one plaintiff, the a striptease grinder . She is a strong character, independent, hurt but refusing to be victimised by Guido. She contrasts with the sexy verve of Penelope Cruz as Carla who has her moments of depression as she is rejected. Sophia Loren, now a grande dame of 75, is the mother. Nicole Kidman who has the difficult role of being the embodiment of goodness and inspiration is Claudia. Kate Hudson has a showstopper as an American journalist for Vogue. Stacy Ferguson (Fergie) is Saraghina and sings Be Italian to great effect. And, finally, there is Judi Dench as Guido's mentor, costume designer and make-up artist who is given a Piaf-like song, Folies Bergere.
A serious piece of musical theatre which shows its stage origins but is dazzling to look at and to listen to and stimulates reflection on its themes.
1.The impact of the film as a musical? Piece of musical theatre? Style?
2.The status of 8½ as a cinema classic, Italian classic, Federico Fellini? Autobiographical? The transition in the 1980s to Broadway, the adaptation of the plot, the storyline and characters?
3.The songs and their staging, the visuals, lavish, costumes, stage design, the song adapted to each character, the lyrics illustrating character? The positions in which they were inserted in the screenplay?
4.The choreography, the glitz? Relating all this to the basic ethos of 8½?
5.Fellini and his creation of Guido Contini? The achievement of the film? Critical praise? The public? The criticism of Guido, the public’s response and their comments about his earlier films being successes?
6.Daniel Day Lewis as Contini: the initial song, the lyrics, illustrating his character, the movements around the set instead of a dance? Guido and his age, dress, relationship with his agent, avoiding the press, the press conference, his answers, flippant, his disappearing? The issue of the new script, calling his film L'Italia? Not having a script? The effect on him, on his agent, on those around him? His decision to go to the spa, the coast, where he grew up? His keeping it secret? The phone calls to Luisa? Not telling her where he was? Carla’s arrival, his decision to install her in the pensione, going around the town, the sexual encounter? The consequences? Stefanie and the reporter from Vogue, his discussions with her, her attempts at seduction? His discussions with Lilli? His imagining Claudia, his muse and inspiration? The various appearances of his mother? The group turning up at the spa? The background of the Catholic church, Fellini and religiosity, the bishop and the discussions about sin and responsibility, Guido’s attempts at confession, discussions with the priest who wanted to talk about his films? The flashback to Saraghina? Luisa’s arriving, Carla coming to the hotel, his being caught out?
7.Luisa, her past stardom, cast by Guido? The success of her films? The marriage, a devoted wife, the concerned phone calls, the experience of betrayal? Her initial song and the plaintive tone? Her arrival, the meal, seeing Carla, her reaction? His inviting her to the screening of the auditions? Her reasons for coming? The contrast with her second song, the striptease song – as Guido saw her, perhaps? Her final decision to leave Guido?
8.The contrast with Carla, Penelope Cruz and her style, the sexy appearance, the song, its lyrics, issues of morality? Emotional, leaving her husband, coming to the town, not wanting to go to the pensione, feeling hidden away? The sexual relationship? Her loneliness, coming to the hotel, spoiling the evening? Her reaction, attempted suicide, her husband coming to take her away? Guido’s encounter with the husband?
9.Judi Dench as Lilli, her work, costumes, makeup? Confidante for Guido? Confidante for Luisa? Her staff? Working with the group, her ideas about the film? Her song, Follies? Mentor and conscience?
10.Kate Hudson as Stefanie, the Vogue reporter, the press conference, seduction, her 60s-style song and dance?
11.The contrast with Nicole Kidman as Claudia, ethereal, finally appearing, wanting to see the script, the photo shoot, her decision to leave?
12.Saraghina, her place in Guido’s past, with the boys, sexual initiation? The song, Be Italian – and its reprise during the final credits?
13.Guido’s mother, as played by Sophia Loren, appearing in Guido’s memory and imagination? Her hold over her son, his loyalty to her and love for her?
14.The agent, his smooth talk with the press, relationship with Guido, the pressures, moving the team to the hotel? The work ethic?
15.Guido, the work, the effect, a breakdown? Two years away from the industry? Occupying himself?
16.The return, assembling everybody, the reprise of the opening scene, all the women appearing, the ending and the place of the women?
17.The musical as an adaptation of theatre – for an art house audience?
