Nine

Nine

Nine

               Genre: Drama, Music Film
               Love affair, music, marital crisis, musical, Berlinale 2010

dance the Fellini!

  There are combinations that come to the game you must first one: From the year 1982 is the musical template for the new film by Rob Marshall (Chicago, Memoirs of a Geisha), who in a tribute to Italian cinema of the 1960s, but especially to Federico Fellini wants to be his masterpiece, 8 ½. Sounds funny? Why not, after all, even the maestro himself had a marked preference for the musical and set this with Ginger and Fred even a cinematic monument. Moreover, the occupation of the tribute to Daniel Day-Lewis, Judy Dench, Marion Cotillard, Penélope Cruz, Nicole Kidman, Kate Hudson, the singer Fergie and Sophia Loren has fallen more than impressive – at least on paper. Nevertheless, the question remains whether all of these ingredients also revealed a homogeneous whole – and if this mixture really well directed. And therein lies the rub. But first to the story, told Nine.

Rome, the mid-1960s: Though his last two films has been veritable flops, Guido Contini (Daniel Day-Lewis) umumstrittene still the star of Italian cinema. Now he announces a big press conference on his latest stroke of genius for which will begin filming in a few days. And because restraint has never counted on his strengths, he says the eager pack of journalists, the self-assured that his film entitled “Italy will bear.” What no one knows except Guido: The whole thing has been nothing more than a chimera, because the director has not yet brought a single line on paper – a deadly mix of mid-life crisis, and writer’s block has its creative powers almost brought to a standstill. What one of Guido’s insatiable libido can not say. To escape the barbaric pressure of expectations that swings Guido in his sky-blue Alfa Spider and travels to the sea to refuel there, inspiration for the upcoming effort to. Unfortunately, it comes quickly his producer’s tricks. Even his wife (Marion Cotillard) is not hidden from the trip – which is twice as unpleasant, as Guido has been his lover (Penélope Cruz) as a muse to the sea can bring. What should emerge from all the chaos only ever a movie? Then the miracle happens – and that has to do partly with the chance logierenden in the same hotel cardinal, who is a great admirer of Continis films.

Who knows Federico Fellini’s 8 ½, which many here will look familiar. Even in the name of the main character you have to almost change: illustrated from Guido Anselmi (Marcello Mastroianni in Fellini’s film) in Rob Marshall’s homage to the glory days of cinéma Italiana Guido Contini. Otherwise the film but is rather loosely around with Fellini’s work mixes elements of action alleged details from 8 ½ to Fellini’s life, songs and dance routines in an attempt to be more of an overall picture of the period to come. The result of this potpourri can certainly convince. Perhaps it is indeed at around 45 years that have passed since Fellini’s film about filmmaking in the country. Marshall’s drawing of the character of Guido Contini makes this appear in any moment as a sympathetic or even likable, but he is exactly the type of narcissistic and egotistical director, as he was known in this over-possibly from cartoons and grease comedies. With the other characters and situations Marshall cable lift at penetrating way in the high-gloss finish and is interested in possibly hanging in the opulent visuals and rapid effect, but never to the credibility of his story. In the end, after all, fits the message of the film at the time of the 1960s in Catholic Italy: The ailing film director recovers, thanks to the joys of marital fidelity his former creativity and raves from now on, all that remains in the home bed and behind the camera.

If you love Italian cinema of the 1960s, the glaring and sometimes this may seem rather banal musical more like a Grusical that his theme dealt with the unkindness of a thematic park designer. The really formidable Daniel Day-Lewis is named in Nine more than two facial expressions and otherwise limit his ability to look out at the same time as passed and still attractive. Penélope Cruz may not, after all, lounging provocatively dressed and humming a tune while Judi Dench gives the motherly mentor Guidos, once again, if the total hangover and no idea when it is in the dressing room on the table and accuses his suffering, while all other actresses, thanks the shallow script and may be almost meaningless haunt an icon like Sophia Loren as Guido’s just dead mother through the film. Presumably it was placed anyway just because of the lack of “Italian way” and as a quasi-contemporary witness in Nine. The true spirit of the 1960s but they still missed in every scene. The artificiality of the decor, the dance moves of the actors, is really only the Gingerbread and unkindness of the film surpassed even that would have a lot to save, if he had not as of old Fellini taken so seriously condemned. Ironic refractions looking here of course in vain.

Even Kate Hudson really laudatory hymn to the cinema of that time remains entirely in the contemplation of pure surface, it reduces the masterpieces of Federico Fellini, Michelangelo Antonioni, Pietro Germi and other sizes of cinéma Italiana out, especially for fashion and style icon to have been narrow ties and the “dolce vita” in vogue to have done. So you can look at this golden age of Italian cinema course. What is imperative but not exactly.

Fans and admirers of that era Fellini film is expected that this shallow Musicalkost rather hard in the stomach. And friends of the musical in Germany are likely to prefer lighter themes, or well-known standards, although they were nevertheless able to enjoy the opulence of the film. Quite possible that in the motherland of Nine Entertainment revealed as a cash magnet. In this country the chances of achieving significantly worse.

(Joachim Kurz)

Title: Nine Country of production: USA Year of production: 2009 Length: 119 (Min) of material: (# ) Senator Film Distribution

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