Nine is director Rob Marshall's latest musical, following on his success of 2002's Best Picture winner Chicago. Although I generally enjoyed Nine, I don't foresee it achieving its predecessor's popularity or success. Despite containing some humorous moments, it's much more serious than Chicago and more importantly perhaps, doesn't contain nearly as many catchy or memorable songs. Being based on Fellini's 8 1/2 it also has to contend with scrutiny by fans of Fellini and that's a scrutiny I don't think will result in favorable comparisons.
Daniel Day Lewis stars as the Fellini like Italian-director Guido Contini. Guido is about to embark on his next film project, but he is burned out and hasn't written a word of the script. As he's constantly reminded by nearly everyone he talks to, his last few films have been flops and everyone liked his early work best. Over the course of the movie, as Guido struggles to find an idea to put on film, we are introduced to all of the women who have been important in his life, mostly through the medium of song as all of them are given at least one number to perform.
As in Chicago the musical numbers all take place inside one or another of the character's heads. Nobody breaks into song in the surreal manner common to your standard classic Hollywood or Broadway musical. Instead, as an example, when Guido is at a press conference near the beginning of the film, his mind wanders off and he envisions himself singing a song on the set of his movie, surrounded by the women in his life. The songs serve as inner-monologues for each of the characters and provide insight into each of them.
It has never ceased to amaze me how for decades now Hollywood has placed star status over singing ability when it comes to casting musicals. Very few of the stars of this movie are singers. Fergie is the only one who actually does it for a living. Marion Cotillard has perhaps the purest singing voice and her song, "My Husband Makes Movies" is the most touching with her character being the most sympathetic. Daniel Day-Lewis and the rest (with the marked exception of Judi Dench who should never, ever sing) all acquit themselves adequately, but unspectacularly. Penelope Cruz uses her sex appeal to distract from her lack of singing ability (and very successfully I might add). Most disappointing to me was Nicole Kidman's rendition of the movie's most famous song, "Unusual Way". Both Barbra Streisand and Linda Eder have recorded far superior versions of the song (particularly Eder, whose version has made the song one of my favorite, recent Broadway tunes).
The choreography and the sets during the musical numbers are all well done, but do bear a resemblance to the musical numbers from Chicago. I'm no Fellini fan, but it would seem that since these numbers exist solely inside the character's minds they might have tried to more closely emulate his directorial style or used more of his imagery.
With all the songs, beautiful women and talented Day-Lewis in the lead the pacing never lags at least and my interest was kept throughout. It is easily a movie that I could see myself watching again.
Since so many critics are enamored of Fellini, I wonder how they will respond to this take on the Maestro's work (so far according to RottenTomatoes.com, not that well). Being a lesser known musical without any truly famous songs, I will also be interested to see how audiences respond as well.
