The biggest attraction of this musical is naturally the strong cast: Sophia Rowland, Judy Dench, Daniel Day Lewis, Marion Cordia, Nick Kidman, Penelope Cruz, Kate Hudson...not including Catherine Zeta Jones, who dropped out, and Gwyneth Paltrow, Juliet Binoche, Anne Hathaway, and Amy. Adams... these names alone are enough to reflect the director's ambitions.
There is also a big difference between the male characters in 8.5 and 9: Fellini asked Masturiani to be the protagonist because he "has a face without personality", while Dai Lewis’s face has multiple personalities. . Lewis used the face of Butcher Bill in "The Gangs of New York" to show the cruel side, and in "Blood Black Gold", the thick eyebrows were replaced by the shrewd, cunning, and betrayal face that has been flowing in the blood of Wall Street merchants so far. , And in "Nine", we seem to see his Chen Shimei-like face again. In 1995, Lewis left Isabel Adjani who was lying in the hospital after giving birth to his son, and married the daughter of the great writer Arthur Miller the following year.
In "Nine", we see actresses with heavy makeup, in the turbulent beats and sultry music, dressed in revealing underwear-style costumes, swaying charming figures, staged a show. Song another song and dance. Under the dazzling lights, what they stepped on was a recording studio, a catwalk catwalk, and a Moulin Rouge stage? Or does it represent the land illuminated by the spotlight that all artists have set foot in?
It is difficult for us to find the answer. The only thing that can be guessed is that today's directors want to restore the passions and desires of the male protagonist Guido through the ancient form of music, so that the audience can see the actor's once glorious and even noble and heroic image, which is only a gift from the director's lens. . Masturianni once said: "After I met Fellini, I realized that actors don't need faces. I only need to give that face to the director and the heroine to sculpt it."
However, it is limited. The narrative techniques and performance skills are not easy to make in musical films. In addition, cultural differences can also make it difficult for some people to accept music themes with too much the same elements. Compared with the previous "Chicago" and "Moulin Rouge", the music of "Nine" has not changed much, the choreography is relatively single, and the venue restrictions have made the explosive and appealing of the musical itself lose its due Effect. Recalling that Hugh Jackman screamed at the 09 Academy Awards that the musical is about to revive, and the trailer at the end of the ceremony also made me look forward to "Nine". However, after watching the movie, in addition to feasting on my eyes, I feel that "Nine" has not yet reached the height of its predecessors.
Behind the sluggish economy, perhaps relying on only a group of celebrities on catwalks or even dancing, it is difficult to flourish the art of musical drama, which is high and low. The golden age of Disney in the 1990s is gone. I wonder if Hollywood's big-name filmmakers can rent from "Yoshiya Rental" and "Mamma Mia!" ", as well as the four major musicals in Britain and France, etc., to find inspiration again in excellent works, and present several classic film adaptations for the audience?
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