A movie about a director (musical)

January 04, 2010 --

NINE
Dir: Rob Marshall

I must set aside my sentimentality to review this movie, for -- as with "Evita" -- I had a memorable family experience traveling to New York City to see the original Broadway production of this musical, too many years ago to count (I'm asking you...don't count!). Hearing the soundtrack again brought back those memories, but I don't expect today's filmgoer (you) to be familiar with the source material at all. It is a somewhat obscure choice for Rob Marshall's follow-up his well-deserved hit "Chicago." [Might it be a last tribute to the late Anthony Minghella, who co-wrote the screenplay?]

At the outset, let me say that composer-lyricist Maury Yeston is no Kander & Ebb, certainly no Sondheim, hell, he's not even Andrew Lloyd-Webber! So the weaknesses of the original are evident in the film version: namely, a disjointed collection of varying musical styles, covering a thin plot. Marshall works his magic with the material he has: the movie's opening number is essentially the greatest Victoria's Secret fashion show ... EVER!, and he gets the most from a stellar cast, confirming his talent for turning anyone into a singing-dancing-acting 'triple-threat' (remember what he did for Richard Gere & Renee Zellweger?).

Credit to all the actresses who orbit around Daniel Day-Lewis's intense performance as Italian director "Guido Contini" (think of Marcello Mastroianni in Fellini's "8-1/2" on which this musical is based). First and foremost is the lovely French actress Marion Cotillard, playing his long-suffering wife, Luisa. Both her acting and singing are superb: she goes toe-to-toe with Day-Lewis in the dramatic scenes, and delivers a heart-breakingly beautiful solo with "My Husband Makes Movies" (the best song in the original show, and thanks to MC, the best moment in the movie).

Aside from her, all the other actresses are given supporting roles (in most cases, a couple of scenes and one song), but each makes an impression. Penelope Cruz as Carla has the most-provocatively sexual number in the show (I remember fighting with my sister over our binoculars during that number), but surprisingly, it is Black-Eyed Pea singer Fergie who steals the show (and my attention) with her turn as the voluptuous prostitute Saraghina. Marshall obviously devoted most of his time and talents to her "Be Italian" number--it's the song you will be humming as you leave. Cruz's more notorious song, "A Call From the Vatican," while energetically performed, seemed over much too quick. =(

Nicole Kidman brings her customary cool glamour to the role of Claudia, yet her part is reduced to almost nothing (she proved herself adept at muscials in Moulin Rouge--why not give her another song, at least?). I suspect Marshall was protecting his male lead, clearly not a professionally-trained singer, from having too many musical numbers. That is a shame, for as Tim Burton proved with Johnny Depp in Sweeney Todd, a gifted actor doesn't have to be a great singer for his performance to work. If anyone else can pull that off, surely it must be Day-Lewis!

Kate Hudson adds much-needed youth and exuberance to this 1980s-era musical by energetically performing one of the 'new' songs. Dressed in a Sixties go-go outfit, she looks every bit the spitting image of her mother (Goldie Hawn, in case you forgot). As for her material, "Cinema Italiano," suffice to say Yeston hasn't improved much as a lyricist in the intervening 25 years (but the music is catchy).

Sadly, the odd-woman-out is the great Judi Dench (I'm not sad that she was not part of the Victoria's Secret show!). Don't get me wrong: her role in the film as Guido's confidante is vital; her musical number, however, desperately needed to be cut! On the stage, "Folies Bergere" was a highlight of the show. Here, it falls flat--partly due to her laying on a thick French accent (that inexplicably disappears when she delivers her speaking lines), but more because Marshall doesn't seem invested enough in this particular number to give it his customary visual flair (my recollection is that the whole number was filmed in medium and long shots). Considering all the other numbers he trimmed from the show, his fear of Dame Judi must have gotten the better of him.

My review reads like I watched a collection of musical numbers, which is essentially what I did. As a whole, they were very entertaining numbers, which is why this movie will end up in my "saw & enjoyed" category for 2009.

Who doesn't belong in this picture?