Director Rob Marshall made a huge splash with his big screen version of CHICAGO in 2002, which swept the Oscars winning six golden statues (nominated in 13 categories!).  He followed up with MEMOIRS OF A GEISHA, though not as equally heralded, a solid directorial effort that is worth a look.  Now he’s back behind the camera for NINE, a cinematic adaptation of the Broadway musical.  Marshall proved he can translate the musical to a movie in a big way already… but can lightning strike twice for this award-winning auteur?

The story of NINE revolves around Italian director Guido Contini (the always fascinating Daniel Day Lewis), who is insanely famous and pursued by the press, but up against immense pressure to deliver a new and exciting film.  Though the project has been announced, along with a title and mock-up poster, very few actually realize that Contini has yet to write a script.  This creates an unbelievable amount of pressure on the cinematic genius, especially since his last two movies were (in his own words) “flops.”  Guido is obsessed with various women in his life, all of who serve as either an inspiration or distraction to him.  There’s his deceased mother (Sophia Loren) who he wanted approval from so badly, his costume designer Lilli (Judi Dench) who knows him better than most, his wife Luisa (Marion Cotillard) who has lost trust in him, his mistress Carla (Penelope Cruz) who wants to be seen with him in a more public fashion, an American reporter for Vogue named Stephanie (Kate Hudson) who wants to seduce him, a seductress from his childhood (Stacy “Fergie” Ferguson) who made quite an impression on him at a young age, and finally his on screen muse Claudia (Nicole Kidman) who he’s fallen in love with using the camera.  Each one of these ladies has had (or is having) a profound effect on our struggling director, and time is running out for him to produce his highly-anticipated masterpiece.  Through a series of musical numbers, we begin to realize just how each woman has factored in on where Guido’s thought process is at present.

The character of Guido Contini here is not so subtlely an homage Federico Fellini, and if you’ve ever seen Fellini’s film 8 1/2, you’ll definitely have some idea of what you’re in for in NINE.  Even the mockup posters in this film could almost be mistaken for the theatrical one-sheets of LA DOLCE VITA, with Nicole Kidman taking on the Anita Ekberg visage.  Where NINE truly excels is in capturing the 1960’s look and feel of Italian cinema, both behind the scenes and in the public eye.  At times it’s documentary-like, at least before bursting into song and dance numbers.  Daniel Day Lewis is again extraordinary, transforming himself into the role of Guido, and losing any preconceived notions of his acting style or previous vocal incarnations.  He becomes Contini, and embodies all of the emotional resonance that character can convey.  It’s hard to imagine anyone else in the role.  I enjoyed some of the little jokes in the film regarding cinema itself, particularly a funny exchange between Guido and Lilli during which she explains how a director does little more than say “Yes” or “No” the the harder working people behind the scenes.  One has to wonder if Rob Marshall had a good time directing a film about a highly-respected director trying to outdo himself under the watching eyes of the press.  There’s definitely some irony at work there.

Let me make sure I've got this straight... Tom Cruise left THIS for Katie Holmes?!?

The women in the film are all equally impressive as well… for the most part.  Judi Dench is always good, but who knew she could sing and dance like a Broadway pro?  Her role as Lilli, the quiet but direct costumer who helps guide Guido’s conscience, is not just effective but spot on.  I honestly wasn’t expecting a big musical number out of her, but I got it, and I loved it.  Is there anything that woman can’t do?  I’m not a particularly big fan of Penelope Cruz, but I defy you not to find her sexy during her first big scene, in which she sings and purrs to Contini for the promise of promiscuity.  It’s easily one of the hottest on-screen dance numbers I’ve ever seen.  Perhaps the most impressive song (in this reviewer’s opinion) is performed by Fergie.  Her big scene is memorable for its choreography and it’s lyrics, and it really stood out to me as the signature moment in the film.  I couldn’t help but think that Fergie would do well to leave behind her bubble gum pop music image and start pursuing Broadway productions.  She has the voice, the moves, and the stage presence – it would be a welcome change.  Kate Hudson gets some nice moments here, and in her 1960’s clothing and makeup, she’s fully transformed into Goldie Hawn, only exhibiting the acting chops to handle drama with decided believability.  Sophia Loren is somewhat downplayed, but still perfect in role of Mamma, adding a classic Silver Screen presence to the film and looking just right for the part.  I think it might have been more fun to have Claudia Cardinale in that role (since Cardinale played “Claudia” in Fellini’s 8 1/2), but Sophia works just as well.  Marion Cotillard gets a lot of moments to shine as the betrayed and emotionally tortured wife to Guido.  Her dramatic scenes are some of the best in the film, and her musical number is as powerful as it is heartbreaking.  She is easily the standout acting performance in this movie.  Which leaves me with Nicole Kidman.  I have to be honest and upfront on this, I have never really been a fan of Kidman as an actress, and have in fact gone on record as saying I think she’s a bit overrated – not a bad actress mind you, just overrated.  It’s not that I don’t like her, I just don’t get the fascination with her.  And using a name like hers in an ensemble piece like this could be dangerously distracting.  She’s not bad, but I for one wasn’t as enthralled with the idea of her being this muse of the big screen that she’s supposed to be.  I think there are other actresses that would have made more sense, but nevertheless she’s satisfactory in the role.  Maybe putting her up against decidedly stronger performers like Marion Cotillard and Judi Dench automatically weakens her effect.  Ultimately it wasn’t anything that ruined the film, just not one of my favorite aspects of it.

NINE is big and loud, and the musical numbers are powerful and memorable at the same time.  Rob Marshall has taken a piece of Broadway and expanded it once again for the big screen.  The screenplay by Michael Tolkin and the late, great Anthony Minghella (there a nice tribute to him in the credits) spends just enough time on storytelling scenes, allowing the music to dominate the film.  Thankfully it all works, and clocking in at under two hours, NINE never feels overly-long or plodding.  Oddly enough one musical number from the original play that’s missing here is the title song “Nine”, though it’s not missed thanks to the bevy of other fantastic songs that are included.  In the hands of another director, this film might have fallen victim to its own intended grandeur, or pehaps a more unnecesarily bombastic finale.  As it is, the movie works as a theater-like experience that is totally breathtaking.  I was glad that Marshall kept the subject matter (which easily could have garnered an “R” rating) discreet and respectful.  If you’ve never seen a Broadway musical, or even if you have, NINE is a theatrical experience worth taking in and an easy contender for Oscar gold.

Oh, and because you’ve been good this year, here’s a shot of a deleted scene from NINE.

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