Review: Nine

Rob Marshall loves women. And by that, I mean that I can't think of another director who makes women look as good in his films as Rob Marshall does in his. I can't stand Renee Zellweger, but she looks and sounds amazing in CHICAGO. In this way, Marshall suceeds with NINE, his new musical film, adapted from a musical based on a play based on Fellini's 8 1/2.

NINE follows filmmaker Guido Contini (Daniel Day Lewis, THERE WILL BE BLOOD) as he tries to make a successful film after a string of flops. The cast is set, posters have been printed, sets have been built... but Guido's yet to write a script. Meanwhile, he struggles through director's block as he ponders the women in his life: his mother (Sophia Loren), his costume designer (Judi Dench), his muse (Nicole Kidman), the whore he visited as a boy (Fergie), an adoring American Vogue reporter (Kate Hudson), his mistress (Penelope Cruz) and his wife (Marion Cotillard).

That Daniel Day Lewis is marvelous in this role is both expected and unexpected. On the one hand, he's so method that one expects him to be great in anything. On the other hand, who knew he could sing? His Italian accent is tops and his voice is one to be savored. He's not only talented enough to be on Broadway, but enough so to be in a show that requires real chops, like LES MISERABLES or THE PHANTOM OF THE OPERA.

That being said, NINE belongs to the ladies. Marion Cotillard is phenomenally affecting as an actress who gives up her career once she falls for Guido. Penelope Cruz is equally delightful as Guido's insanely sexy mistress who's heartbroken when Guido continues to hide their affair. Loren and Kidman are irritatingly forgettable in a film of charismatic performances, so between Kidman, Loren and Dench, it's Judi who's most memorable. Her humor and down-to-earth practicality grounds Guido in a very real way and her performance of "Folies Bergeres" is a delight.

The real surprises are Fergie and Kate Hudson. Quite honestly, they both benefited from being given the best, most energetic songs in the film - but neither manages to mess up that blessing. They both sing the hell out of their respective songs and revel in Rob Marshall's electric choreography and imagery.

Indeed, Marshall continues to glorify the women in his films. He's a long way from the cookie cutter chorus lines of Busby Berkeley. Each woman in Guido's life has a voice, a look, a song, a dance. Marshall was meant to direct a film like this and I'm thrilled with what he did.

The movie's shortcomings lie in the music, I think. Perhaps there's a reason I hadn't heard of this musical before I heard it was being committed to film. Frankly, it's not very good. I think back to 2002 and remember how enthralled I was by CHICAGO, how I had to rush out after the film and buy the soundtrack, which I proceeded to memorize note for note. There was no such rush with NINE. With the exception of "Be Italian" and "Cinema Italiano" (which doesn't count because it wasn't even in the original musical) I walked out of the theater unable to remember the lyrics to any of the songs. I couldn't recall a single hook or even hum a few bars. It was all lost, and without that energy of fantastic songs, NINE flounders in spite of its spectacular staging.

I was initially disappointed by NINE, but now that I'm aware that I don't enjoy the book as much as I have with other musicals, I'm willing to see it again. There are still thrills to be found in the fine performances, choreography, staging and overall look of the film.