Nine (2009) User Reviews (263)

not a very good film version of a good musical

[blanche-2 · 6/10 · 11 March 2013]

The movie version of the musical "Nine" (based on Fellini's 8-1/2) was released in 2009 with a wonderful cast that included Daniel Day-Lewis as Guido, Marion Cotillard as his wife Luisa, Penelope Cruz as his mistress Carla, Kate Hudson as a reporter, Judy Dench as his costumer, Nicole Kidman as his muse Claudia, Fergie as a woman on the beach, and Sophia Loren as his mother.

I am at a disadvantage because I didn't see the musical, but quite a bit was cut from the score, which is a shame. The music is wonderful and probably was meant to be sung a little better than it was in the film.

"Nine" is the story of a great filmmaker, Guido Contini, who is about to make another film but doesn't actually have another one. His life is a mess - a wife, a mistress, no script, and no inspiration. He has to come to grips with his immaturity, his women, and with the reality of his life before he can move on.

Each of Guido's women has a song that expresses her feelings, the most famous of which is "Phone Call from the Vatican," sung by Carla (Cruz). This number was performed by the late Anita Morris on stage and considered very risqué. For me, the best filmed number in the whole film was "Cinema Italiano," done by Kate Hudson, and Judi Dench does a great job with the "Folies Bergere" number. "Unusual Way" is perhaps the prettiest song in the score, and that was done by Nicole Kidman.

We don't get much of a chance to know the women in Guido's life with the exception of Luisa (Cotillard) who gives a lovely, gentle performance as a woman who loves her husband but is continually hurt by him, and Carla, who despite her overt sexiness, is actually very fragile. And we get to know Lilli, the costumer, who knows Guido very well indeed and is the voice of reason.

The movie is pretty to look at, and the women are absolutely stunning, particularly Cotillard, Kidman, and Cruz, who looked like goddesses. Daniel Day-Lewis lived in Italy for a while and his accent is excellent. He's handsome and sexy, possibly more introverted than one of the stage Guidos - Raul Julia, Antonio Banderes, Sergio Franchi, or John Stamos.

Since this film moves slowly in parts, it's curious that so many songs were left out.

In the final analysis, though I liked parts of "Nine," I think it's too theatrical a show to lend itself to film. As a theater piece, it's fabulous - the original show was a hit, as was the revival.

I know some people hated this movie, but it's not awful. It's just not great.

Six

[don_agu · 6/10 · 1 February 2010]

Let me say off the bat that seeing Sophia Loren and Sophia Loren singing gave me a chill. That is quite a bit to get from a film. Chills. I knew I had to forget this was a musical adaptation of 81/2, but I couldn't forget the way I forgot that "Sweet Charity" was a musical remake of "The Nights Of Cabiria". Here the score is iffy and scarce and the story, translated into musical numbers is kind of shallow and, quite honestly, not enough. There are, however, moments to enjoy. The look of it is great, and Marion Cotillard makes something enormous from the little she was given. Penelope Cruz dances an erotic dance and Kate Hudson, well I don't quite know what she was doing. Nicole Kidman is starting to look like a wax work, what a pity! And Judi Dench is always fun. I was reminded she was a sublime Sally Bowles in the first London production of "Cabaret" - Daniel Day Lewis has been one of my favourites for a long time now but here he is far too pale, inside and out. I want to repeat that the whole thing is worth it just to have a glimpse of Sophia Loren singing. So, 6.

Chicago style doesn't work for Italian style

[moviemanMA · 6/10 · 27 February 2010]

I was surprised when Rob Marshall's Chicago took home the Oscar for Best Picture. A great movie but not my choice for best of 2002 (that I would award to Gangs of New York). All that aside, Marshall hasn't done much since. Only one movie, Memoirs of a Geisha, which I for some reason have neglected to see (I try to watch films that win for best cinematography). That's all beside the point. In his third film, Marshall goes back to his theatre roots and tackles another musical.

This time he has chosen Nine, a re-imagining of Federico Fellini's classic film 8 1/2. Already I am skeptical of the situation. I am fine with musicals. Some of the best films on celluloid have been musicals. What I have a problem with is the reworking of such a classic film like 8 1/2. It would take a lot of convincing to win me over. Unfortunately, it did not succeed.

Daniel Day-Lewis stars as Guido Contini, an Italian director who is planning on making the most important Italian film ever call Italia. The only problem is he hasn't written a script yet. To guide him he turns to the women in his life. His late mother (Sofia Loren), his wife Marion Cotillard, his mistress (Penelope Cruz), his costume designer and closest friend (Judi Dench), a fashion reporter (Kate Hudson), a childhood temptress Saraghina (Stacey "Fergie" Ferguson) and his leading lady (Nicole Kidman).

Contini tries to escape the pressure looming overhead by the media, his producers, and his cast and crew. He is constantly searching for the answer, bouncing around from one person to another. That's really all there is. He talks to people, sleeps around, and goes into his past.

Right off the bat there is a slight problem. There are too many women! Not just for Contini but for the audience. There are too many big name actresses with almost equal parts. Who is more important? Who should we side with? It seems like he has such a close relationship with some of them and hardly any with others, yet they all practically get the same amount of screen time. They all have at least one song to their own.

That is another problem with the film. The musical aspect is distracting from the story. The music for the most part is average. A few songs like "Be Italian" and the Oscar nominated "Take it All" are very good, but for the most part, it's all bells and whistles. Like he did with Chicago, Marshall takes us from the real world of dialogue to the imaginary world of singing and dancing. My issue with this is that he spends an almost equal amount of time in both places. With Chicago, there was more story divulged in the real world. Nine has too much singing and not enough story telling.

The musical numbers are impressive, in particular the two songs I mentioned. Fergie really flexes the golden pipes with "Be Italian," a fun and sexy number that for me was the highlight of the film. Cotillard's number was also one of the better ones. This was a more emotional struggle and was one of the few numbers I felt really connected with the story. Kidman and Cruz each have decent numbers, and Dench's number is a bit over the top. She is better with the real world scenes.

I guess Marshall tried to replicate what he did with Chicago but came up short. I never was invested with any of the characters and Lewis' performance was not quite what I was looking for. I would have loved to have seen Raul Julia, the original Guido Contini from the first Broadway production, or even Antonio Banderas in the revival. I think someone with a more musical background would have been a more acceptable choice, but nevertheless, Lewis does a fairly decent job.

I Wanted To Like This Film More Than I Did.

[Matt_Layden · 6/10 · 16 December 2009]

Guido Contini, a famous Italian director, is struggling with his next big film. He has no script and no inspiration, but everyone is counting on him. He tries to juggle both his new film, his wife, his mistress, his producer and his muse. Oh yeah, he also talks to his dead mother.

Nine is an ambitious film, I'll give it that. Rob Marshall, the director of the Best Picture winner Chicago serves up a mix bag with Nine. The film feels like Marshall is trying to rekindle the magic he had with Chicago, he comes up short, specifically with the musical numbers. For everything that I liked about it, there were two things I didn't. Nine needs to be more focused and shorter for it to be a film I would recommend.

The film is about film-making, yet the way Marshall presents the film to us is in the style of a stage play. Everything from the set-pieces to lighting screams stage play. It was an interesting touch, but felt out of place because it dealt with the art of film-making so much. The musical numbers, all uninspiring and rather boring, even attest to this. With the exception of Fergie, who gives us the best song and dance number that uses sand in a creative way, all the other numbers are generic and rather 'not good'. When you have a Grammy winner singing a song and then have Kate Hudson sing one, there is a difference, and it is more noticeable than the filmmakers might have wanted.

Nine has a great cast, most of them are Oscar winners too. Daniel Day Lewis, with an amazing Italian accent, is the obvious stand out. He plays sexy and stressed all in one look. Penelope Cruz is the mistress, who has the sexiest scene of this movie, her career and this year. Her work in this film is pretty basic, the other lover who wants to be the one loved. With the exception of DDL, the only other actor that is given any kind of emotional depth is Marion Cotillard. She has to go through the realization that her husband is cheating on her and make the choice to stay or leave. Everyone else is pretty much there to fill up time and sing their one song. Judie Dench is the fashion designer and she plays a motherly figure, whereas Sophia Loren plays his actual mother, well his dead mother, but he still sees and talks to her. Fergie has her one scene in which she steals the show with her tune and then Nicole Kidman turns up at the end and makes you wince with her accent. Don't get me started on Kate Hudson.

The problem is that these are good actors, with just no material to work with. Daniel Day Lewis is great, but he's a hard character to connect with, he's sleeping around with a lot of women, it feels like half the cast. Emotional scenes don't play out as well as they should and the film drags itself to the finish line near the end. I found myself wanting it to end sooner and sooner, but it kept going.

On the plus side, the choreography is great and the cinematography really grabs you, even if it is a little misplace with it's stage feel. The film is well put together and the editing is well done. It weaves it's story in and out of timelines from Guido's life, during the musical numbers. The film isn't bad, but it didn't do anything for me either. Leaving a musical not tapping your toes or even remembering the tunes may be a bad sign. I liked it enough to give it a good rating, the cast and style are good enough for me to do so, but everything else makes me lean on the side of telling you to rent this. It's well made, but has no real heart and the film is a little on the long side, you may be checking your watch.

A Hot Mess...But a Mess of Oscar-Worthy Material

[o-donnell_w · 9 December 2009]

I could honestly say that walking out of "Nine" I felt more conflicted over what I thought of the movie than I have in years. The film can be reviewed in two aspects though, its performances and its story, so I'll dissect those.

Performances: Let me first say that no actress delivered any less than they possibly could, and you could tell that the cast had worked their butts off during production.

The Great- Marion Cotillard in particular delivered what is sure to be one of the most understated performances in recent memory, as well as delivering the two most powerful and emotional numbers in the show. Penelope Cruz was SEXY, and as her character's story was wrapped up she beautifully portrayed a "mistreated mistress," so to speak. Judi Dench was fantastic as the background player in Guido's career, perfectly delivering wit while supporting her friend. Most importantly, these three worked so well because they were interlinked in each other's story, and as a result their plot lines flowed well into each other.

The OK- DDL and Sophia Loren were fine in their parts, simply filling out their roles and not seriously improving on or dragging down the movie in any way.

The Misused- Nicole Kidman, Kate Hudson, and Fergie were all criminally misused, although fantastic when on the screen. All three had stories that didn't synch with the movie, whether they be Kidman (who honestly needed a more fleshed out role that came in contact w/ other characters other than just Guido), Hudson (whose number really felt like it would have made more sense in the beginning of the movie), or Fergie ("Be Italian" felt shoehorned in and disconnected, and would have been a perfect opener or closing number). All three felt particularly disconnected from the film.

I can honestly say that not one of the players in Marshall's cast disappointed, but it was Marshall himself and the messy script (irony!) that jumbled up the movie and left me with a very disjointed, disconnected result. Each scene was Oscar-worthy, but they were only partially threaded together into a cohesive story.

The best music film of 2009!

[iheart_ny · 5/10 · 26 May 2010]

Today, I went to see Rob Marshall's new musical, Nine, obviously based upon the Broadway musical of the same name, that based off Fellini's 8 1/2. It should be mentioned that the movie contains not quite as many songs as the stage performance does, but, each actress in the wonderful cast having one song, and the way the songs are presented, it certainly works.

Daniel Day-Lewis leads the cast, playing Italian filmmaker Guido Contini, who is about fifty, and going through something of a midlife crisis. Lewis brings a lot of panache to the role, belting out his lyrics with such assurance that this part has been well-practiced and a certain amount of passion has been brought into it, playing the character perfectly.

His long-suffering wife Luisa, splendidly re-imagined, not played by Marion Cotillard, is the one gem in the cast that outshines all of its other members. You feel emotion for her character that you don't feel for the others, you can tell that her character has been through a lot, and you're happy to see her come out on top at the end.

Penelope Cruz also adds a lot to the film, playing Contini's mistress, Carla, a role that 30 Rock's Jane Krakowski played on Broadway, Cruz also brings a lot of emotion and sass, often simultaneously, to her role. You really understand Contini's predicament, and sympathize with the character, for not being able to break her heart, or that of his wife. Her musical number brings a lot of excitement, and her enthusiasm, and her roaring Soprano is unlike anything we ever thought we'd see from this actress. I see her winning awards a-many for her performance in this.

Dame Judi Dench, always worthwhile, plays Lilli, Contini's wisecracking costume designer and confidante. Dench brings comic relief, having more scenes than any other of the actresses in the film, but also brings depth, playing a kind of a psychiatrist to the lead character, and also bringing a fantastic voice, for her musical number, which contains many chorus girls in feather boas, you think you're watching The Rockettes or something out of A Chorus Line, but for the song, it certainly works.

Fergie plays Saraghina, a figure from Contini's youth who taught him about love, and how to attract a woman. Fergie only has one scene in the movie, basically. She shows up in the overture, and finale, but, her only big scene is her show-stopping musical number Be Italian, which generated applause in my theatre. It makes me wonder if they used Fergie less, because maybe her acting talents were not up to par. I guess we'll never know, but her singing voice is something we didn't even expect from her, as she belts the lyrics with such undeniable passion and exuberance, you're glad this minor role was played by her.

Nicole Kidman plays Contini's muse, actress Claudia Jensen, who is mentioned in the film's beginning, then disappears until close to the movie's end. I kind of feel like Kidman's obvious musical talent, displayed previously in Moulin Rouge, come off as a bit underused, because she has one of the best singing voice among the cast and she only has one song. That's one of the few things that bugged me about this wonderful movie.

Kate Hudson plays American magazine journalist, Stephanie, who isn't in very much of the movie either, but Kate Hudson's big musical number, Cinema Italiano, written specifically for the movie, is amazing. I hate to use the word "amazing", because I think it's overused and it's lost its affect, but it's the only way to describe this scene, the way that director Rob Marshall cut the number, switching from sequences in black and white, then color, then black and white again, it's a truly unique experience that you really need to see to completely understand. And here's a surprise, Kate Hudson can sing. I thought she was only cut out for mid-level rom-coms, but I'm glad to say I was wrong, she definitely fits in with the musically talented cast of this movie.

Sophia Loren plays Contini's mother, who is tragically underused, but brought in at the right times in the movie. She, again, only has one song, but it feels like enough, for this actress, who's still looking great, at age 75, bringing drama to her role, and she gives more than she needs to, but it's certainly good to see her on screen again.

The direction of the movie is just as much one of the stars of the show. Rob Marshall, having directed Chicago and Memoirs of a Geisha knows a thing or two about grand-scale production musical numbers and high-octane drama, and he brings it all to this film, although some of the songs are cut in a way that feels chaotic and rushed, but I think it doesn't hurt the movie at all. It's a movie built on high caliber acting, beautiful music, and gorgeous imagery, and it's something you have to see for yourself. It's that good.

Fine Musical Numbers Tied Together by a Very Thin String

[3xHCCH · 6/10 · 22 February 2010]

The song numbers of "Nine" are really very well-staged with all those fantastic actresses in this Oscar-winning stellar cast. "A Call from the Vatican" by Penelope Cruz is very sexy and playful. "Folies Bergere" by Judi Dench is nothing like what you have seen her do before. "Be Italian" by Fergie is very sensual with unique choreography, and for me the best number of the whole film. "Cinema Italiano" by Kate Hudson is decidedly faster-paced and modern with lyrics that are meaningful to the story, but her character seemed forced into the sequence. "Guarda la Luna" by Sophia Loren is ethereal. "Unusual Way" by Nicole Kidman showcased her beautiful face more than her voice. Marion Cotillard had two numbers "My Husband Makes Movies" and "Take It All," both of which fully showcase her sensitive acting chops.

However the problem is, these fantastic song and dance number are united by a very thin storyline, that of a premiere Italian director Guido Contini (played by Daniel Day Lewis) who seemed to be stuck in a perpetual artist's block. In fact, he does not even have a script yet for his much-awaited new feature film with the grandiose title of "Italia"! The musical numbers express his relationship with the various women in his life. However, this main character (or even his songs) is not really very appealing nor sympathetic nor interesting. You really need some patience to get through "Nine." It is just like watching a series of music videos held together by a very tenuous connecting string, ready to unravel at any time. Director Rob Marshall does his best with the thin "plot" but this is certainly not "Chicago." I think "Nine" would be better appreciated on DVD. You would wish you could just fast-forward to the next song number and skip all the dour Contini parts.

I seem to not get what everyone else does

[red_jacket0707 · 1/10 · 16 January 2010]

What is the point of making a film like this? A pretentious film director is uninspired to write a decent film, and ultimately fails.

How clever and ironic that the film itself mirrors this!

In order to find inspiration, he looks to the women in his life, while they spring into song wearing basques and corsets.

All the songs sound the same.

Nothing happens.

The end.

I'm sticking my neck out here. I'll be chastised for criticising such a successful Broadway musical, with such a great cast. Don't get me wrong - the 1 star for this film is solely for Day Lewis - the man can act.

It looks fairly nice as well It doesn't stop this film being pointless, pretentious, nauseous drivel.

I can't remember any of the songs from the film, because they are completely dull, lifeless, pointless songs.

1/10 - AVOID. (Even though you'll all disagree with me - I stand by my opinion!)

Much better than advertised

[Buddy-51 · 8/10 · 11 July 2010]

"Nine" has taken the same circuitous route to the big screen as "The Producers" did a few years back. First, it started out life as a beloved movie - in this case, Fellini's classic 1963 "8 ½" - then got itself reincarnated in the form of a Broadway musical (undergoing a name change in the process); finally it got adapted back into a movie by the trusty hands of Hollywood, much to the consternation, apparently, of most of the nation's film critics.

The original movie was a phantasmagoric blending of memory, reality and wish-fulfillment fantasy, focused on a major Italian film director caught in creative crisis (a figure obviously based on Fellini himself). Daniel Day-Lewis takes on the role, made famous by Marcello Mastroianni, of the filmmaker (now named Guido Contini) who "has nothing left to say" - either as a man or as an artist - a man so harried and hounded by producers, subordinates, reporters, detractors, sycophants, and assorted hangers-on that he sneaks away for a rest-cure at an out-of-the-way health spa. With all his creative juices dried up and feeling that he will have a nervous breakdown if he has to make even one more statement or executive decision regarding his film, Guido, like many of us, believes he will find the peace he so desperately yearns for by retreating from the outside world. But Guido soon discovers that there is no escaping from the people and pressures of the world in which we live - nor from our religious and familial upbringing - for they are each of them an integral part of the fabric that makes us who we are.

Visually, "Nine" captures all the flash, dash and excitement of life among the glitterati in the Eternal City circa 1965. In terms of plot and incident, the Michael Tolkin/Anthony Minghella screenplay (itself derived from Arthur Kopit's Broadway adaptation) follows the original fairly closely, but what's missing is the spark of cinematic genius that Fellini alone could bring to the material. But can one reasonably have expected that, anyway? As a director, Rob Marshall does an impressive job re-staging the dramatic portions, but he certainly doesn't have Fellini's flair for the carnival-like atmosphere that became a signature feature of all his later works (but, then again, who does?). However, as he did in "Chicago," Marshall demonstrates that he knows how to slide in and out of the musical numbers without being unduly jarring about it. That's particularly challenging given that most of the numbers - which serve as reflections of the characters' thoughts and feelings and the movie's themes - are done largely on surrealistic soundstages, as opposed to the on-location filming of the non-musical portions of the movie.

No surprise, Day-Lewis is superb as the dashing but world-weary director (truly as much a celebrity as an artist), perfectly capturing the angst, frustration and conflict taking place deep within the soul of a creator who still has so much to say - despite his protestations to the contrary - but not the slightest clue of how to say it. Guido is clearly trying to be a good person, but all those inner demons are doing their best to thwart him at virtually every turn. There are many moving moments of deep introspection, as Guido contemplates the direction of his life and the effect his actions are having on the people he loves. I'm going to go out on a limb here, and it may sound like blasphemy even to say this, but Day-Lewis lets us see his character's pain in a way that even Mastroianni himself did not. Interestingly, by tamping down some of Fellini's cinematic "distancing devices" and icy-cool tone, the movie actually allows us to relate with Guido on a more personal level and to care more deeply about his plight.

Marion Cotillard replaces Anouk Aimee as Guido's devoted but long-suffering wife who knows about her husband's infidelity and who suspects he has become a filmmaker as a means both of avoiding having to deal with real life and of achieving personal forgiveness and redemption for himself; Penelope Cruz stars as Guido's flighty mistress, whose sudden appearance at the spa throws Guido's world into a tizzy; and Sophia Loren puts in an occasional appearance as Guido's recently deceased mother who gives him words of advice and comfort from beyond the grave. Nicole Kidman portrays Claudia, the beautiful young starlet who loves Guido but ultimately refuses to be just another of his numerous "conquests." Judi Dench plays the fashion designer who appears to be the one level-headed and brutally honest person whom Guido can turn to for advice and support. And all of them are excellent.

One thing that "Nine" has going for it that "8 ½" didn't is the perspective that comes with the passage of time. When the original was released, it WAS "Italian Cinema" - and everything that went along with that term. As a result, the movie was totally unconscious of itself and the place it and other films of its time period would occupy in movie history. "Nine," with the ability to look back on the era from a much later perspective, is able to convey all this in a way that those earlier films, including "8 ½" itself, could not. In this sense, "Nine" sees "8 ½" more as an artifact than as the contemporary trailblazer it was in its time.

As with all remakes and "re-imaginings" of classic works, we must finally ask ourselves the crucial question: "Is this trip really necessary?" I think in the case of "Nine," I will have to go with "Yes" - or, if not "necessary," at least audacious and stimulating. "8 ½" aficionados and Fellini purists may have trouble warming up to this version, but I see it not as a denigration of the master and his great work, but as a tribute to them.

Another excellent adaptation from Rob Marshall

[doubleosix · 7/10 · 23 November 2009]

The film is beautiful, visually stunning, and exciting, and the cast is remarkable, especially Penelope Cruz (no surprise there), Marion Cotillard (her singing is wonderful), and the gal who blows the doors off -- an unrecognizable (to me, anyhow) Fergie! I was watching the credits to see who the hell played Saraghina, and was stunned to learn it was Stacy Ferguson. Go Fergie! Judi Dench is a smash as well. Nicole Kidman doesn't reveal anything we haven't seen before, but she does bring the large dollop of Movie Star shine for which her role calls. Even Kate Hudson pleases; her 60's go-go dance will inevitably bring comparisons to her mother's "Laugh In" heyday.

Having said all that, I honestly don't know who is the audience for this film. "Nine" was hardly the Broadway smash that "Dreamgirls", or "Chicago" was, and the score is entirely obscure. Additionally, do most people really care about the trials and tribulations of a self-involved, duplicitous 1960's-era Italian filmmaker? Does it matter? Do you have to actually like the protagonist to learn something from his experiences? Box-office-wise, this picture is going to live or die on the reviews, and people's interest in seeing these actresses shine. (I read here that Renee Zellwegger was under consideration for a role in this film... What a disaster that would have been!) And, of course, those who like seeing Daniel Day Lewis stretch new muscles (he chain smokes! He sings!) I enjoyed it very, very much... and now I'm very curious to see what the world thinks of it.

Tedious, and painful

[andrewcappelletti · 1/10 · 8 December 2009]

Lots of money spent giving incredibly beautiful visuals with some extraordinary performances by a stellar cast, in this monotonous dull and lifeless movie. What a shame. The cast obviously poured their hearts out, and worked their asses off. The production design and cinematography are award worthy. The directing is absolutely horrendous. Atrocious. Horrible. Hey Rob, where you put the camera is really important. I couldn't see inside any of these characters! I never felt sympathetic, empathetic, or even slightly connected to any of these characters. Sad, cause the actors brought it. The movie never showed it to the audience. When Guido (Daniel Day-Lewis) kneels at his Mother's (Sophia Loren) feet and admits his faults, we see his hair back-lit. I will bet had the camera actually looked into his eyes we might have had something there. One hour and forty five minutes into the movie, the conflict with the wife happened. Finally some real drama. Had that been the first scene I might have decided to care about this man's journey. Kate Hudson's number was the highlight of the film, although completely disconnected from the story. But then again, everything is disconnected. And there really is no story. And making a film with an Italian sensibility in the English language is probably an impossibility. Remember when they dubbed "La Vita e Bella" into English? That, like Fellini's work was beautiful in Italian. It sucked in English. I say, leave the making of Italian films to Italian filmmakers. Uhhhgggg. Thanks for the free screening, But I sincerely wish I could have those two hours back.

What is wrong with everyone???

[invinceable08 · 10/10 · 31 December 2009]

When I first found out that Rob Marshall was going to be making a movie version of Nine I was very excited because I knew he would be the best person to direct it because he could easily relate to the protagonist with his experience as a well known director and a women enthusiast. Also as a director he uses very creative imagery and elaborate sets to tell the story of a very specific situation, instead of just a broad scenario that happens everyday. I particularly love this style because I hate stories that I've already seen and heard a million times.

Because i felt this way about it i was shocked to hear that such a large majority of critic's thought it was so mediocre and I became hesitant to see it in fear of disappointment.

Well, I did see it and let me tell you, there was nothing mediocre about it. It was a phenomenal movie. The dances and songs were beautiful, creative and very well performed. The storyline was very fresh and it kept the viewer interested in what Guido would do next because he was such a dynamic character. The women in his life were perfectly cast and fantastically played, especially Marion Cotillard, whom I had never heard of before this movie; it's fair to say she totally rocked her role instilling in me emotions that I never even knew I had. Penelope was ridiculously sexy yet still made the viewer empathize with her character. Nicole Kidman was great as the self-confident and inspiring muse. Daniel Day-Lewis was very believable in his role as the immature child trapped inside the older man's body named Guido, as his life spins out of control as reality finally begins to catch up with him.

The main problem that critics had with this movie was that it wasn't like Fredrico Fellini's 8 1/2 on which nine was based but they shouldn't be comparing the two. This is a whole new movie and should be viewed for what it is and to me Nine is the most entertaining movie of the year and I am looking forward to seeing it again.

Stunning performances, gorgeous to look at, great movie, period.

[coolpeachdust · 7/10 · 8 December 2009]

Anyone who complains that this movie has no plot either hasn't seen or must feel the same way about Fellini's classic "8 1/2" since "Nine" has basically the same plot. And yes, there is one.

Guido Contini is a filmmaker facing an existential crisis of sorts as the deadline for shooting his next film is approaching and he hasn't even written a script, as he's constantly distracted/battling with the women in his life - past, present, and possibly future. No, it's not a complex plot, but some of the best movies have simple plots - look at Best Picture "No Country for Old Men": A guy finds a bag of money and gets chased by a psycho for a couple of hours. Simple plot, GREAT movie. Same goes for "Nine." What makes movies with simple plots work are the characters, themes, and performances. "Nine" has those in spades. Daniel Day-Lewis shines yet again as this man with an insatiable appetite for life, love, everything - yet no matter how much of it he devours, he remains empty. He wonders if he's capable of real love, or even if he knows what it means. Of course Day-Lewis excels at conveying these internal struggles, but the most pleasant surprise here is that he can SING them as well.

Marion Cotillard may be the shining star of the film, as Guido's long-suffering wife. The best part of her performance is that she doesn't play it as a victim - she seems to be the one in command during all of her scenes with Day-Lewis. Guido needs her, and she knows it. And when Guido's transgressions (which you can tell deep down, she's known about for years) become apparent, she seems just as angry with herself for allowing them as she is with him. It's a masterful performance, as are her two musical numbers in the film. The first song she sings conveys the sadness she refuses to show in public, and the second is the polar opposite: a raw, angry, cathartic release from a woman who refuses to be a doormat. It will be a crime if she's not recognized come Oscar time for this performance.

Aside from Day-Lewis and Cotillard, Penelope Cruz is the other stand-out of the film. As Contini's mistress, she's very funny in her early scenes, but when you start to see how much she loves Guido and wishes they could have their own life together, she plays the heartbreak just as perfectly as the comedy. And yes, her musical number is quite the show-stopper.

The film also features solid supporting performances from Judi Dench, Kate Hudson, Nicole Kidman, and even Fergie. Though if I had to pick a weak link, surprisingly, it would be Kidman. She's not bad by any means, but she was using some kind of unidentifiable and inconsistent accent that I found a bit distracting, which is a shame because I usually enjoy her work. She just seemed miscast here.

Finally, the film looks great. Rob Marshall, while using the same "imaginary musical sequences" technique he did on "Chicago," seems to have really found the perfect way to use that technique in this film. Since the story it's based on was really about what goes on inside the director's head, that style seems better suited for this story than it did "Chicago" (though I did enjoy that film as well). And his work with cinematographer Dion Beebe has created some beautiful and classic imagery that celebrates the movies and why we love 'em. It certainly made me want to hop on the next flight to Rome.

Overall, I found "Nine" to be fantastic-yet-slightly-flawed musical masterpiece. I honestly don't know how anyone could give this movie 1 star.

An embarrassing mess

[carlos.virgile-3 · 1/10 · 19 December 2009]

I have to declare that Fellini 8 1/2 is first on my list of favorite films so it is rather obvious that, as far as I'm concerned, any one that tries to mess with it will be received with a huge amount of resistance. On the other hand I have been perversely attracted to the musical version from its initial opening on Broadway years ago. Nine, both on Broadway and unfortunately of the new film, clearly show that today's culture has exhausted its own creativity and simply lost any shame in accepting the lack of an original idea.

From My Fair Lady to West Side Story or even A Little Night Music, many great musicals are based not on an original idea but on famous classics stories, books or films. Nothing wrong with that when the musical version adds a new layer, a twist to the vision of the original and the music brings a new vocabulary to tell the story.

The film of Nine doesn't feel so much as inspired on 8 1/2 but a real misappropriation of someone else's personal ideas. Whilst the change from screen to stage might have been challenging and innovative, the fact that we are now back to the same medium than the original makes more obvious the inadequacies of the concept as well as the poor talent of the Rob Marshall and his MTV School of film direction style. The use of memorable imagery in black and white in a scene such as the Saragena and the boys on the beach seems not a homage to the genius of Fellini but simply a blatant robbery that should have been protected by copyrights or at least by Marshall's self censorship.

The misconception was there from the start. The film as a musical simply does not work in any way. The music itself seems extremely banal and you know you are in shaky territory when you can tell exactly the next musical phrase or words in a song. Further more the introduction of the songs, the sudden jump from action to singing feels totally forced.

How on earth a talented a actor such as Daniel Day Lewis could ever have got involved in this mess of styles and accent with dubious content escape me. Did he really think he could pass as a reincarnation of Mastroianni or even as an Italian? It might sound odd but in the film not even Sofia Loren sounds convincing as an Italian!

Interesting that at the core of the original 81/2,there is actually the conflict of the creative process and the fear of not being able to say anything new or of value. What's could then be a better idea that cannibalizing Fellini's masterpiece and bringing its level to a lower common denominator in order to try to capture the interest of today's general audiences.

Visual Brilliance/ High Emotion

[cjhutch · 7/10 · 11 December 2009]

While I believe people and critics will be mixed on this it is a very sold film. The story is limited (as in most musicals due to the large amount of time spent in song), however that's not a bad thing. The awkward part of the film is that all the female characters are fully drawn out characters with minimal screen time. Each character is basically given one song and possibly part of a second which all show a deep emotion. The actresses all created fully drawn characters with histories and emotional depth, but we as the audience don't see the development of any character except Guido which is unusual. I don't see that as a bad thing however I believe some will.

Visually this movie is brilliant and some moments are breathtaking. Each song has it's own unique look and feel. There are flashback style moments that have the feel of an updated French New Wave style. Anyone who loves films will find a lot to praise in this one! I felt the actresses were all solid save for Nicole Kidman who wasn't believable as the beautiful young goddess actress. She just seemed miscast. Marion Cotillard is amazing. Her emotional depth is undeniable and she has a very nice voice. Good old Fergie was also a pleasant surprise. She has the smallest part, but her musical number is energetic and visually amazing. I've never liked her music much, but her voice is perfect for this part.

I recommend watching Federico Fellini's 81/2 before this film as that is what it is based on and it will give you a little more background going in. Go in with an open mind and enjoy what's happening in front of you. Don't get bogged down in the lack of character history we see, just trust that the actors and actresses know the character histories and the emotions they are playing are honest and true.

The star of the show? Daniel Day-Lewis's car.

[nickdvl · 1/10 · 4 January 2010]

Where do I begin? I scoffed at the people leaving the cinema after only 5 minutes. "Uncultured fools", I thought. Only afterwards did I realise that they were the lucky ones: I lost two hours of my life (and maybe more) being exposed to this utter rubbish.

As a musical, the best parts (and I use the term "best" very loosely here) of this film are when the cast aren't screeching out an unmemorable number. Seriously, you won't remember any of it other than the "Guido! Guido! Guido!" ringing in your ears.

Even having Penelope Cruz's scantily-covered crotch thrust into your face didn't improve things. The rest of the "all star" cast doesn't fair much better: Sophia Loren looks like an extra-terrestrial (no doubt from having one face-stretch too many), Daniel Day-Lewis is forgettable and is upstaged by his car (which, seriously, is the only interesting showpiece in the entire film), Nicole Kidman does practically nothing, Judy Dench is in her typical mother-hen role, and Fergie (who is apparently not the ex-member of the British Royal Family but a member of the Black Eyed Peas) I can't remember seeing. Must have slept through her performance, but presumably it must have been better than the rest since it didn't wake me up with its sheer awfulness.

How this film garnered no less than 5 Golden Globe nominations is a complete mystery. Even the cast members interviewed on Larry King looked bewildered - they must have been as surprised as I would have been if I had seen this mess.

It's rare that I feel the need to write a review. However, in this case I think I need to do so if only to save people from spending their money to watch this tripe. It certainly goes on my list of all-time worst movies that I've ever seen, along with Speed 2, and The Blair Witch Project. Rob Marshall has a lot to answer to for this crime against cinema - and for that matter, humanity.

Sing for your Ego, Maestro.

[billion_mucks · 6/10 · 29 January 2010]

First things first, I do not like musicals. I've been pushed to see this by the infatuation over a lady. But trust me I was surprised to how much I liked it, even when I had negative expectations to it.

The film hands down is a wonderful homage to Federico Fellini, in his visual style, the women chosen represent Fellini's size of aesthetic view just like Kidman reminds you of young Anita Ekberg, Cotillard has the same diva material as Anouuk Aimee and Kate Hudson the figure and pallet of American stars that pleased Il Maestro Fellini. If you are familiar with this wonderful director, you'll enjoy "Nine" the better.

Then, I believe music helps to boost the theme and moral of the story. Generally outlined the whole musical is an ego-fest, all around Guido, Guido, Guido, his mess, his women, himself over himself. His ego being put into the light, with each song sprouting in the exact moment with "joie de vivre" and vitality, the women from Kidman to Dench showcasing enormous femininity and composure.

"Les Folies Bèrgere" piece says it clearly. What you need is the laughter, the lights, the color. The music, the "pleasure of living". Nine has it, it has it all while at the same time plays the keys that Maestro Fellini would have liked to hear if he was still with us.

Ridiculous

[felipe-cotta · 1/10 · 18 February 2010]

This is, easily, one of the worst movies I've ever seen. Really... what's with all this great cast to a plot that doesn't exist? The movie deals with the drama of a filmmaker who ran out of ideas for his next movie. Well, I think "Nine" is this film. There's no story, no script, no ideas. It's a silly and presumptuous musical that makes you leave the movie theater feeling ashamed. Why did Kate Hudson say "yes" to this part? She's totally out of context here, she doesn't even know what she's doing. Her musical performance is pitiful and I almost prayed it ended as quick as it could. As for the songs... all awful. "Cinema Italiano" makes you feel you're being stabbed in the ears. In general, all songs are bad, except for the one that's sung by Luisa. Penelope Cruz and Sophia Loren make good appearances, but they're both too good to be here. This movie does not deserve them. Or Judi Dench. Or Nicole Kidman (by the way, what happened to her lips???).

I left the movies feeling like an idiot. This movie is an offense.

Nine is not your everyday musical

[jgregg42 · 8/10 · 26 December 2009]

What do I know about musicals? From my limited experience of musicals, ("Singing in the Rain," "Guys and Dolls," "The Blues Brothers" {yes, it is considered a musical comedy} and "Legally Blonde the Musical") here is the basic linear format as I see they are written in — opening dialogue, singing, more dialogue, more singing, even more dialogue and then a grand finale. Then for a week after that, you have the songs stuck in your head. Director Rob Marshall chose not to follow the old standby format through to the end. His actions placed "Nine" in a different category from the standard musical.

The movie focuses on Guido Contini (Daniel Day-Lewis) as a famous movie director in Italy in 1965. He is having troubles developing his next movie. More so, he hasn't written a script. Even more so, he is having trouble even coming up with an idea for his movie. He had successful movies in the years past but now we are watching him struggle after a few major flops.

In his journey to make his next movie, he is having marital problems along with mistress problems. Add in Freudian issues with his deceased mother and his working relationship with his costume designer and his muse. Don't forget to include yet another potential affair outside of the one he is having with his mistress, plus there's the memory of an erotic lady on a beach from his youth (that's seven women total for those of you who are keeping score at home).

You know what is going to make this movie stand out from the crowd? It is the realistic singing by the actors. They are actors first and singers second (except for maybe Fergie who plays the erotic lady from Guido's youth but she didn't say much in the film, come to think of it I think she only sang). Since I don't know much about musicals and even less about how to sing properly, I could grasp the singing. The tunes they sang aren't the kind you are going to be singing on the way home because a lot of the songs were simply narrated lines being sung. When a character wanted to express his or her thoughts, they would sing their lines. Maybe that's what they do in all musicals — like I said my experience here is limited.

The women. Oh, the women. They all performed wonderfully, and I don't just mean the singing. The female cast includes his wife (Marion Cotillard), his mistress (Penelope Cruz), his costume designer (Judi Dench), the woman from his childhood (Fergie), an American fashion designer (Kate Hudson), his muse (Nicole Kidman) and his mother (Sophia Loren). They brought emotion and life to the story through their singing and their lustful yet sensual moves. I would also like to note, as a guy, the women were the reason why I kept my attention focused for almost 2 hours. I don't even watch a football game this intensely.

Should you see this movie? Yes. But, don't go in expecting a musical you can sing along with or a movie that will leave you feeling giddy with love. It dealt with some very real issues about infidelity. I will say this, though, after seeing this movie I do know a little more about musicals. And, that's a good thing.

It's Style over Content...

[ClaytonDavis · 6/10 · 6 December 2009]

In one of the most anticipated films of the Oscar season, Rob Marshall directs the adaptation of the Broadway musical, Nine. The film stars a studded-cast of A-list celebrities including Academy Award Winners Daniel Day-Lewis, Marion Cotillard, Penelope Cruz, Judi Dench, Nicole Kidman, Sophia Loren, Oscar Nominee Kate Hudson, and Stacy Ferguson a.k.a. Fergie. What the film is proud of is ultimately its failure.

Marshall, Oscar nominated for his breakthrough directorial debut Chicago, lost all the flavor and originality we once respected him for. The performances of most are right on target; get the job done, and sure to break through some awards buzz this season. The narrative by Michael Tolkin and the late Anthony Minghella is flat, unemotional, and vacant. The songs are tedious and a bit monotonous in their delivery, despite the cast surprisingly having good vocal chops. You would think that a big time musical such as Nine would have big notes that engage the viewer, and an interpretation that would move the viewer. None of those occur often enough in the film. Nine is not a failure, it just suffers major malfunctions that don't keep the machine moving.

Daniel Day-Lewis helms the picture as Guido Contini, an Italian director looking for inspiration for his next film. Day-Lewis gives a solid effort which we haven't seen from him before but in comparison to his previous works in There Will Be Blood and Gangs of New York, he doesn't elevate the material as often or doesn't translate his musical numbers like he should. When he's not singing, Day-Lewis is in charge, in top form, and showing what he's always excelled at, decode a character's feelings and become an inferno of talent.

Marion Cotillard is easily the most sentimental and profound player in the entire picture playing the heartrending Luisa, Guido's adulterated wife. What Cotillard has demonstrated beyond any type of acting capacity, a sexy, stylish, and devastating performance. With her two musical numbers, "Take It All" and "My Husband Makes Movies," Cotillard improves and exalts one of the most poignant performances of the year. This is the single performance of the film that Oscar shouldn't miss out on.

Nicole Kidman, Oscar winning actress for The Hours, is as wasted as she is unimportant playing the beautiful Claudia, Guido's muse for his film. Kidman's one big scene of the film becomes a borefest of words that have no verbal value to the viewer or the story. Unfortunately Kidman is the forgettable cast mate that is ultimately invisible. She's unused, underwritten, and employed as movie wallpaper. For shame.

Judi Dench as the costume designer Lilli has one big musical number which again is uninspired and lackluster. She has charisma in her speaking scenes and sort of upstages Day-Lewis much of the time, she eventually falls victim to a bland, insipid account.

Sophia Loren, the beautiful veteran Italian actress plays Mamma as in Guido's Mom, and gives a presence of royalty that the film lacks. She walks through the film with a manifestation of poise and allure.

Kate Hudson, as the cute Stephanie, the fashion critic for Vogue Magazine, is surprisingly fresh and fun. Her "Cinema Italiano" is one of the more pleasurable and enjoyable numbers in the film. It's nice to see Hudson give a bright, inventive cinematic turn in lines with her Oscar nominated work in Almost Famous.

Fergie is one of the sexier parts of the film as Saraghina, the lust of Guido's adolescence. Her "Be Italian" in terms of vocal capability is the best of the movie experience. Big notes, modern-like, and innovativeness, Fergie is one of the memorable players here but in terms of actual "acting," she's never given the chance to show what she can do.

Penelope Cruz, in one of her most aggressive and provocative turns yet plays the luscious Carla, Guido's married mistress. Cruz, in the film's opening number, is eager and provides hope to what seemed was going to be a promising experience. Along with Cotillard, Cruz is an Oscar worthy player. Fascinating, passionate, and enthusiastic along encompasses the traits in Ms. Cruz's arsenal.

Technically, the film sits very well. A stunning art director controlling the date and time of Marshall's film is quite good. Dion Beebe regulates our essential point of view and how dazzling it can look despite any flaws narratively. At it again, Colleen Atwood shows how she's one of the top designers in the business. Marshall in the end copycats himself, which is not a directorial style rather a Chicago-repeat without the razzle-dazzle.

Consequently, Rob Marshall's Nine isn't terrible, which doesn't say much. It's passable, average, and done before. It may not have been the screen writers liability for the strikeout, it's just an un-fascinating and awkwardly weak show. Nine, the film, however, is awkwardly coy, which is not an imaginative sense that the viewer anticipated. Nine in the end, in the finale, walking out of the theater, everything you thought about it, levels out just fine, which I guess is admirable. Is it Oscar bound? Unfortunately yes.

**½/****

Not nine, just zero (web)

[leplatypus · 1/10 · 21 September 2013]

This is one of the finest jewels in Hollywood crap crown! So much famous names, so much budget to shoot a stinker like this, it's amazing! There's absolutely no story as it's about a lousy director seeking inspiration! The music, songs are just horrible! The musical is poor as they kept using this dark roman arena and the dancing is just at the level of music videos now: lascivious girls jiggling. And for the cast, they found the exquisite idea to have them speak English but with a loud Italian accent, just to tell the movie happens in Italy ! Day-Lewis must be very shameful of his participation as he looks his feet, bent behind shades all the time. Fortunately, Penélope is here and brings the only good moments: she is truly the only one to show that's she's a fine dancer and a true actress...

Great entertainment

[twonine7733 · 10/10 · 20 March 2010]

Okay, I'm an elitist. I am not surprised if really good movies score an average in the 6's and I'm not convinced that "high scoring" movies are worth the price of the popcorn.

Let me say this, if you are going to evaluate "Nine" then don't compare it to "8 1/2". Evaluate it on its on merits and not if it is "faithful" to a movie it is based upon.

Secondly, if you don't like musicals, (especially stage musicals) or stunningly beautiful and sexy women, then maybe this will not be your cup of tea, and neither will your review be very helpful.

That said, this movie was VERY stylishly filmed and edited, the music was GREAT, a la "broadway cabaret" (NOT "berlin" syle), the acting was dramatic and believable (from Daniel Day-Lewis and Dame Judy Dench, I expect no less) the women were awesome, the dancing and choreography was top notch.

The only short-coming (if you want a nice little "story") is that the plot really was fairly non-existent. But just consider it as the vehicle for the music and the dancing and the OH SO BEAUTIFUL women.

SIX women, representing SIX countries: Italy, France, Spain, England, America, Australia (Loren, Cotillard, Cruz, Dench, Hudson, Kidman). This movie is definitely worth a "nine" but I gave it ten to compensate for the "majority".

Sexy ladies and Forgettable songs

[SnoopyStyle · 6/10 · 5 January 2014]

Film director Guido Contini (Daniel Day-Lewis) is starting a new movie in 10 days and he hasn't written a single word yet. He doesn't know if he still has the touch after 2 consecutive flops. All that is sure is that the new movie is to be called Italia and stars his muse Claudia (Nicole Kidman).

The story isn't very appealing. It's just so much doubt and mid-life crisis from Guido. The songs are, to be kind, weak cabaret Broadway caliber. Penélope Cruz does a super sexy dance. Daniel Day-Lewis isn't completely horrible. Kate Hudson has the most fun and energetic. And Marion Cotillard gets very emotional. Besides a few sexy dance moves, the songs and dances are mostly forgettable. And there is something very static about having all those performances on the same stage. There are some hot babes, but the movie isn't so hot.

Every Woman Is Really A Pole Dancer

[TreatMorrison · 1/10 · 11 July 2013]

It takes a special kind of gift to assemble a cast of (mostly) highly entertaining actors, including Daniel Day Lewis and Penelope Cruz, and still make a mess as big as this one. And it's not even cheap sexy fun, though the message appears to be that all women are pole dancin' sluts at heart. Who knew? "Nine" was 2009's "Burlesque." It belongs in the mausoleum where lie such films as "Annie," "Best Little Whorehouse in Texas," "Xanadu," "Chorus Line -- The Movie," and "The Wiz." The less said about "Nine" the better. We can, however, say how it retained the essence of the original Broadway show (but not the Fellini movie), and then we can all just pretend it never happened.

Musicals once were fantastic films. NINE is not in that league.

[jaybob · 6/10 · 4 May 2010]

Yes, at one time Musicals were fantastic entertainment, That time is long past.

NINE comes over as fair entertainment, and no where as good as the original Broadway play.

The director was Rob Marshal, this film needed a talent like Vicente Minnelli as director. The screen play was written by Anthony Minghella & Micheal Tolken.It is based on the Tony award winning play by Maury Yeston and Arthur Kopit. The Broadway Musical was in itself taken from a film by Fellini, '8 1/2'.

More than a few songs were regretfully cut to keep the film under 2 hours. The 118 minute running time includes about 15 minutes of credits.

Danny Day Lewis is the lead & he does attempt to recreate Marcello Mastrioanni's superb role in '8 1/2'. Marion Cotillard is excellent as his wife. Penelpe Cruz, Judi Dench, Sophia Loren,Nicole Kidman among others are the other women in his life.

I did not see the Broadway Musical BUT am sure the songs and dances came over better. This is not a terrible film, by any means, It just does not measure up to musicals of the past.

Ratings: **1/2 (out of 4) 76 points (out of 100) IMDb 6 (out of 10)