Word: Richard Smith

In an era where musicals are making a comeback in the cinema (think Chicago, Sweeney Todd, Moulin Rouge, RENT) you can understand Rob Marshal’s confidence in directing a musical with an all-star cast. But musicals are also a very hard genre to pull off – both on stage and screen, especially if you want to reach a broad audience.

NINE is based on an Italian play by Mario Fratti and inspired by Federico Fellini’s autobiographical film 8 1/2 . The film centres around troubled film director Guido Contini (Daniel Day-Lewis) as he hits a mid-life crisis and writers block as he is pushed into the production of a new movie for which he still has not written the script. As he stresses about avoiding press and, unsuccessfully, his producer he looks upon the women in his life that have influenced him; his wife Luisa (Marion Cotillard), his muse Claudia (Nicole Kidman), his costume designer/maker and confidante Lilli (Judi Dench), his mistress Carla (Penelope Cruz), his childhood prostitute Saranghina (Fergie), his “Mamma” Sophia Loren and Vogue journalist Stephanie (Kate Hudson). Rob Marshall has certainly done well to afford this standard of award winning cast – perhaps his success with Chicago was his bait.

Marion Cotillard excels as the calm yet tortured, loyal and loving wife whose emotions are put through the wrangle by her self-obsessed and hypochondriac husband. Proving that her Oscar winning role as Edith Piaf in La Vie En Rose was not a one off. Marion perfectly relates the character of a subtle and conservative character that is ultimately Guido’s backbone, the one he’s most dependent upon. Judy Dench gets the best comic one-liners executed to perfection by this ‘grande dame’ of the stage and cinema, playing Guido’s confidante who knows him so well that she’s one step ahead of him every time. Penelope Cruz flashes the curves and gives undoubtedly the most erotic of performances in the film in the song “A Call From The Vatican” which is given comic injection by the fact that her flirtatious phone call is taken by Guido whilst he is being examined by a doctor and nurse.

Nicole Kidman possibly brings one of the least memorable performances and I feel that although she certainly has the stature and glamour to pull off the look, I feel that as Guido’s muse that someone younger should have been cast – I could visualise a youthful Brigitte Bardot-style character playing this part. Also Nicole’s voice is a little thin compared to the other performers. Kate Hudson has been receiving great reviews for her performance and her number “Cinema Italiano” (an additional song to the original screenplay) certainly has a lot of energy about it, but acting-wise there was little of substance.

Fergie has the best song out of the line-up without a doubt – “Be Italian”. It’s the one that stays in your head long after leaving the film and the feisty number certainly packs as much weight as this diva had to gain for the role. Eating plenty of fried food, Fergie bulked up an additional 17 pounds to play the plum(p) role of Saraghina, the beach living whore from Guido’s youth. The number switches from black and white flashbacks of Saranghina showing a little more for the young boys for pay to Guido’s colour stage set where the raunchy costumes and full ensemble of dancers certainly gets your blood rushing. The dance routine with chairs, tambourines and sand is grand and Fergie’s voice faultless.

Sophia Loren’s role as Guido’s “Mamma” is the least impressive and as she appears at Guido’s side as an apparition (that he goes to for advice and ask for comfort), she gives as steely a performance as you would expect from a ghost… cold! When she appears at the end of the movie the lighting does little to hide the work that she has had done to betray youth. I’m not sure how youthful a vulture looks – but it aint pretty that’s for sure!

Last, but most definitely not the least, is Daniel Day-Lewis. His flawless acting skills are honed to the most miniscule detail and as you look closely at his face in the numerous close-ups you know that this method actor is totally absorbed by the role and it is undoubtedly Guido’s blood that runs through his veins.

Rob Marshal has done it again, although this director isn’t the auteur – he managed to cast enough of them in the movie and make them fuse in a beautiful musical that smoothly runs full circle to a satisfying conclusion. There’s no doubt that NINE will be back on Broadway and in the West End before you can count to…NINE!