I was surprised to learn that "Nine"'s main premise was about writer's block and losing oneself. Unfortunately, it was not made nearly as well as Rob Marshall's other movie-musical, "Chicago," nor as well as the 2006 writer's block film, "Stranger Than Fiction."
The problem with "Nine" was not that it lacked conflict, but that it lacked rising conflict. The protagonist, Guido (Daniel Day-Lewis), a famous Italian director, is scheduled to start shooting an epic film in ten days -- and he still hasn't written the screenplay. His crew has built sets, sewn costumes, and chosen actors -- all without a screenplay. There could be a lot done with this -- writing a screenplay in ten days is a huge obstacle in itself. Or, the storyline could have began several months before, and the conflict could have risen as the director and audience watch the ticking clock. Instead, the conflict stays level. The film tries to distract the audience with Guido's girl troubles, but this they are not the root of the problem -- rather, they are symptoms. Additionally, they aren't new, fantastic problems, they're the same issues of wife and mistresses that he's been juggling for years. Why show this specific tryst, this specific argument? There's no reason to do so; none of it is out of the ordinary. In fact, it is boring.
Boring, and there's no depth of character. Character, like everything else, is developed through conflict. Without any rising action, the audience never learns anything more about the character than what know from the first few minutes of screen time.
As for the musical numbers, most of the songs are demure and modestly choreographed. One of the larger numbers, "Be Italian," had the potential to be the next "Cell Block Tango" (Chicago); it's got the appropriate score, lyrics, costumes, and color scheme. It's the choreography that disappoints. Most of the song is still; the aggressive, athletic dancing only lasts for a few moments of the song, and when it does show up, it's unoriginal. There are a few interesting moments with chairs and sand, but these parts only come in little bursts that make you ask, "Now why isn't the whole thing like that?" The song itself is great -- it's a shame the film doesn't live up to it.
The second big number, Kate Hudson's "Cinema Italiano," is just pointless. The lyrics are superficial; the fringed costumes don't match the rest of the movie; the dancing was nothing more than hip-rolling and hair-tossing -- it would have even made a bad music video. Worst of all, the a few parts of the song are catchy enough that they stick in your head.
"Call From the Vatican," though not a big number, is over-the-top. It's a mediocre song eclipsed by Penelope Cruz's dirty dancing. It becomes not a song, but a pretty intense striptease that adds nothing to the film and is not even fun to watch.
The song that best combines a strong score with strong filming is "Take It All," performed by Marion Cotillard. It starts slow and rises to an emotional climax, while juxtaposing the image of Cotillard's character as a sophisticated actress with her past as a stripper.
I don't recommend "Nine." I do, however, recommend listening to its songs online
The problem with "Nine" was not that it lacked conflict, but that it lacked rising conflict. The protagonist, Guido (Daniel Day-Lewis), a famous Italian director, is scheduled to start shooting an epic film in ten days -- and he still hasn't written the screenplay. His crew has built sets, sewn costumes, and chosen actors -- all without a screenplay. There could be a lot done with this -- writing a screenplay in ten days is a huge obstacle in itself. Or, the storyline could have began several months before, and the conflict could have risen as the director and audience watch the ticking clock. Instead, the conflict stays level. The film tries to distract the audience with Guido's girl troubles, but this they are not the root of the problem -- rather, they are symptoms. Additionally, they aren't new, fantastic problems, they're the same issues of wife and mistresses that he's been juggling for years. Why show this specific tryst, this specific argument? There's no reason to do so; none of it is out of the ordinary. In fact, it is boring.
Boring, and there's no depth of character. Character, like everything else, is developed through conflict. Without any rising action, the audience never learns anything more about the character than what know from the first few minutes of screen time.
As for the musical numbers, most of the songs are demure and modestly choreographed. One of the larger numbers, "Be Italian," had the potential to be the next "Cell Block Tango" (Chicago); it's got the appropriate score, lyrics, costumes, and color scheme. It's the choreography that disappoints. Most of the song is still; the aggressive, athletic dancing only lasts for a few moments of the song, and when it does show up, it's unoriginal. There are a few interesting moments with chairs and sand, but these parts only come in little bursts that make you ask, "Now why isn't the whole thing like that?" The song itself is great -- it's a shame the film doesn't live up to it.
The second big number, Kate Hudson's "Cinema Italiano," is just pointless. The lyrics are superficial; the fringed costumes don't match the rest of the movie; the dancing was nothing more than hip-rolling and hair-tossing -- it would have even made a bad music video. Worst of all, the a few parts of the song are catchy enough that they stick in your head.
"Call From the Vatican," though not a big number, is over-the-top. It's a mediocre song eclipsed by Penelope Cruz's dirty dancing. It becomes not a song, but a pretty intense striptease that adds nothing to the film and is not even fun to watch.
The song that best combines a strong score with strong filming is "Take It All," performed by Marion Cotillard. It starts slow and rises to an emotional climax, while juxtaposing the image of Cotillard's character as a sophisticated actress with her past as a stripper.
I don't recommend "Nine." I do, however, recommend listening to its songs online
