Nine is directed by Rob Marshall (Chicago). Personally I think this director is very talented in bringing Broadway into film. His choice in cinematography is very keen. Every musical number in the film is exhilarating with memorable performances to boot! Penelope Cruz is seductive as the mistress, Fergie is very rambunctious as the crazy lady that ushers Guido into his awareness and appreciation of women, but due to the nature of her showmanship, Guido begins to look at women as just that; lust. Kate Hudson is uber bubbly in the film, although at first glance you can't help but ask yourself, "wtf is she doing here?" It took me about halfway into her musical number to finally get won over by her performance, Nicole Kidman.....yea. I don't know why for ANY reason she was in this film and the same can be said about Daniel Day-Lewis even though he delivers a strong performance and presence on screen but then again when does he not? I think the real star here is Marion Cotillard, there's something in her subtle beauty and her sly smirks that makes her stand out. I know she's not the ideal "hot" girl like Megan Fox, but her role as the emotionally drained wife of Guido won me over. Cotillard has enough directive power as an actor to make it big, and I hope only the best for her.
However, no matter how pretty and exhilarating the performances were in this film, it lacks on the intellectual aspect that is Federico Fellini. Many have to sit and wonder exactly what angle the director was going for when so much of the film revolves around it being a musical. Are we watching it for exciting numbers or are we really watching a troubled cinematic genius try to overcome his writer's block and balance out his personal life? I honestly couldn't answer that question at the end of the movie for it felt like the director cut the audience short on that aspect, and it's because of that sole purpose that Nine felt incomplete and shorthanded. If you're going to make a interpretive film on another film that is based off another director's own interpretations make sure you have a clear direction on where you want to take the film. It's better to make it your own vision rather than failing at paying homage & attempting to hide that fact by casting BIG names.
2.5 / 4
8 1/2 is directed by Federico Fellini. Where has this film been all my life? It's amazing to see a MASTER of the art create his masterpiece, it is such because Fellini effectively uses every scene to literally portray an image of his choice whether it makes sense to the audience or not, and each scene can literally be a quality photograph, even the Kubrick-esque closeups that are used only empower the film and it's cinematography.
The film centers on the trials and tribulations of a writer/director in the midst of a severe writer's block and all those who are in his life. He wanders from woman to woman, hotel to motel, different opinions, schedules, an angry producer whom has staked a lot of money on Guido hoping he will deliver another powerful film, and even alienates himself from his wife, whom he loves dearly, but has a hard time committing to. Why? Is it because he is immature? How can someone who is so good at directing others and capturing raw emotion on film not have a firm grasp on his own reality? Does he know the difference between reality and fantasy? Does he care? What does it all mean for him? No one knows! But Guido himself.
So, I would definitely recommend this movie to anyone who is misunderstood, enjoys interpreting films for their own benefit, and anyone interested in making a film.
An epic movie was made about four decades ago....watch it. It is essential.
Dream sequence in 8 1/2
Conclave of punishment, in a flashback sequence
4 / 4
Which one is better? Obviously 8 1/2, but that shouldn't deter one from watching Nine also. It's nice to see that Fellini's own interpretation of a troubled writer be interpreted into a musical by a fellow director.
-DK
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