I would be lying if I said I was a “fan” of Federico Fellini. I say this not because I don’t like him, but because I have only seen a few of his films (“8 ½” and “La Dolce Vita”) and it would be unruly of me to comment on his entire film canon. Yet, what I loved about “La Dolce Vita” and “8 ½” was Fellini’s ability to create a surreal and dreamlike experience. Never did it feel like they were constrained by the characters or even the plot; everything just seemed to flow on a breeze destined to the edge of imagination and the subconscious. This aspect is what I found completely enchanting about “8 ½” as its plot not only weaved moments of grandeur and hilarity, but moments of human discovery and sentimentality. Unfortunately, such a sentiment was rarely found in Rob Marshall’s “Nine” which is based off a Broadway musical incarnation of Fellini’s “8 ½”.
This is mostly disappointing because if there was ever the type of film that would lend itself to Fellini’s dreamscape, it would be the musical genre which is a genre that is built on grand moments that one would only hope to experience while asleep. Now, the synopsis of “Nine” is nearly the same as found in “8 ½”. Director Guido Contini (Daniel Day-Lewis) is struggling with writing his next film, which oddly enough begins production in a matter of days. Yet, as he battles writers block, Guido is having a little trouble with the ladies. More specifically he’s having a hard time balancing time between his mistress (Penelope Cruz), his wife (Marion Cotillard), and convincing his muse (Nicole Kidman) to star in his new film. With pressure mounting, Guido slips into what seems to be daydreams as he recollects his triumphs with the women of his life and films. It’s at this moment that Fellini’s “8 ½” takes flight as it moves from point to point at a manic pace; a point where reality can’t be discerned from daydream; a point where reality blurs.
Yet, in the case of “Nine”, director Marshall doesn’t accentuate the flights of fancy anymore than he deflates them. Certainly the musical numbers add a certain depth and introspection to Guido’s mind, but more often than not Marshall confuses a surreal moment with a flashy one; depth with breadth. Yes, the musical numbers, especially Fergie’s “Be Italian”, are interesting productions, but when confined mostly to Guido’s singular film set and with minimal setup, they’re only skimming the top of Guido’s subconscious. Now, this is not to say I came into the theater expecting the same level of depth found in “8 ½”, but with so many ideas to mine from Fellini’s classic, I couldn’t help but feel the film missed an opportunity to deliver an existential musical that would do its source material proud. This is only furthered by the fact that a few of the women characters are delegated to merely a few scenes, let alone any actual development, causing their connection with Guido to feel trivial.
And this is really quite a shame considering the terrific cast “Nine” boasts. The talent of Hudson, Kidman, and Dench are in many ways wasted. Thankfully the likes of Day-Lewis, Cruz, and Cotillard bring enough passion and zeal to make the film boil when Marshall’s attempts simmer. More specifically all three are able to bring a balance point between their musical and non-musical scenes, as they’re able to draw out their characters in nearly every aspect. Cruz is beautifully vulnerable as Guido’s mistress, while Cotillard delivers the best performance in the film as Guido’s wife, a woman grown weary of her husband’s backsliding. And to no one’s surprise, Daniel Day-Lewis delivers another great performance as he is able to capture the charisma and command a person like Guido possesses.
Certainly, Day-Lewis doesn’t have the best voice (not that I’d be the best judge of that) but what he lacks in range or overall singing talent he makes up for with an undeniable bravura. It should also be no surprise that when Cruz, Day-Lewis and Cotillard take charge, the movie is far more effective and worthy of our attention. It’s with these three actors that we see the potential the film had to offer; the potential found in Fellini’s “8 ½”. Yet, through all of its shortcomings, “Nine” is still an entertaining and somewhat provocative take on love and the construction of an artist. Who knows, maybe with a different mixture of songs, less flash and beefier roles, “Nine” could’ve held up as its own vision, as well as be comparable to Fellini’s. But the film can only dream that it reached such a peak.
Just for kicks: http://www.youtube.com/watch?v=QA9DeCHfzgw
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