THE CONTENDER: Nine (2009)
Number of Nominations: 4 – Actress in a Supporting Role (Penélope Cruz); Costume Design (Colleen Atwood); Art Direction (John Myhre, Gordon Sim); Original Song (“Take It All”, music & lyrics by Maury Yeston)
Number of Wins: 0
Hollywood and Broadway used to enjoy a much more symbiotic relationship than they do today. The Broadway stage was a reliable source of material for moviemakers. In return, Hollywood made Broadway look like the highest peak a young up-and-coming actor, singer or dancer could aspire to. Hell, the second movie (and the first sound picture) to win Best Picture was The Broadway Melody, about a pair of sisters fresh off the vaudeville circuit trying to make it big on the Great White Way.
Some of the most beloved movies of all time are based on Broadway musicals: My Fair Lady, The Sound Of Music, West Side Story, the list goes on and on. One thing these movies all have in common: they all appeared in theatres not too long after their stage debuts. My Fair Lady won the 1957 Tony for Best Musical. The movie came out in 1964. The Sound Of Music came out five years after winning its Tony.
But the movie-going public’s appetite for big, splashy musicals all but died in the late 1960s and early 1970s. Broadway adaptations continued to pop up now and then (The Wiz, Annie, A Chorus Line) but they rarely returned on their investment (Grease being one of the few exceptions).
So pretty much any popular, Tony-winning musical that had the misfortune to debut in the 1980s was resigned to sit on the sidelines. Evita had to wait 16 years before it was made into a film. The Phantom Of The Opera took 18. And Cats…well, we all know what happened to Cats.
Nine premiered on Broadway in 1982 and it was kind of a big deal. It helped launch Raul Julia (already a big Broadway star) into a film career, won multiple Tony Awards and was nominated for a Grammy. 21 years later, a revival of the show also won a bunch of Tonys. But it wasn’t until six years after that when the movie version was finally released to an indifferent public who had most likely forgotten all about the show. It probably didn’t help matters that just a few months earlier, a completely unrelated animated film called 9 had been released (and that one had come out just a few months after District 9…nines were everywhere in 2009).
Based on the classic 8½ by Federico Fellini (who was reportedly cool with giving over the stage rights to his film as long as his name and the movie’s actual title were kept far, far away from it), Nine follows cinema maestro Guido Contini (Daniel Day-Lewis) as he preps for his latest film, Italia. Principal photography is scheduled to begin in just 10 days but Guido doesn’t have a script. Panicked, Guido flees a press conference and attempts to hole up in a spa away from Rome, summoning his mistress (Penélope Cruz) and stashing her in a much seedier hotel close to the train station…just in case.
Naturally, “just in case” becomes a reality as the entire film crew follows Guido in an effort to get him to focus on the project. But the script remains elusive as Guido’s mind slides into a fantasia of all the women in his life, including his wife (Marion Cotillard), his leading lady (Nicole Kidman), his costume designer/confidante (Judi Dench), an American reporter (Kate Hudson), a prostitute from his childhood (Fergie) and his late mother (Sophia Loren).
The impressive lineup of talent doesn’t stop in front of the camera. The screenplay was written by Michael Tolkin and the late Anthony Minghella (this ended up being his last film credit). The director was Rob Marshall, who had made an impressive transition from Broadway to film with the Oscar-winning Chicago just a few years earlier. On paper, everything about this movie seems like a home run. So why is it so totally inert?
A big part of the problem here is the character of Guido, both as written and as played by Daniel Day-Lewis. Guido is a brooding, narcissistic, control freak who gets away with his bad behavior because he’s a genius. Day-Lewis has the brooding control freak side of the character down pat but we don’t get to see even a glimpse of the genius or any other redeeming quality to suggest why we should care about this guy.
He also never seems particularly comfortable with the singing and dancing that comes along with starring in a musical. He only has a couple of numbers and he’s a fine singer. But songs in musicals are all about taking what a character is feeling inside and making it physical through music and movement. Day-Lewis is such an internal actor anyway, you feel him bristling at being made to externalize his emotions. It isn’t his strong suit.
Fortunately, the ladies do most of the heavy lifting in the music department while Day-Lewis looks on, usually bathed in a spotlight and smoking a cigarette. They’re all perfectly fine, although I wouldn’t say any of them are particularly inspired. Marion Cotillard has the most to do as Guido’s ignored wife and gets two numbers, including one of the three new songs written for the film. “My Husband Makes Movies” is sort of an insipid introduction to the character but she fares better with the new song, “Take It All”. Nicole Kidman and Sophia Loren are barely in the movie long enough to register, while Kate Hudson pops in for an energetic but stupid new tune, “Cinema Italiano”. As for Judi Dench…she’d go on to appear in Cats, so we’ll cut her some slack for this one.
But when you have a cast like this, somebody’s bound to get an Oscar nomination and this time, Penélope Cruz’s name was pulled out of the hat. Her performance is…fine. No better or worse than anyone else in the cast. She gives 100% to her sexy performance of “A Call From The Vatican” and her role allows for a bit more range than Cotillard’s did, so I assume that’s why she got the nod. But honestly, this is one of those nominations that feels like the Academy selected just by throwing a dart at a poster of the movie.
The best song in the movie and the one sequence that feels authentically Fellini-esque belongs to Fergie, the only person here who has never been nominated for an Oscar. “Be Italian” is clearly the show-stopper, so thank God they gave it to somebody who could sing the hell out of it. But during the black-and-white flashback sequences, Fergie is the one person in the cast who looks like she belongs in a Fellini film. She’s sexy, earthy, uninhibited and playful in a way nobody else pulls off. It’s the one sequence in the film that really comes to life.
It’s hard to argue against Nine‘s art direction and costume design nominations. If nothing else, the movie looks spectacular. It lost in both categories (to Avatar and The Young Victoria, respectively) but production designer John Myhre, set decorator Gordon Sim, and costume designer Colleen Atwood have all won Oscars before (and since, in the Atwood’s case), so don’t feel too badly for them.
2009 was the first year the Academy upped the number of Best Picture nominees to 10. You’d think that with more slots available, a movie with Nine‘s pedigree would be a shoo-in for the big prize. But Nine was unable to muscle past the likes of The Blind Side and A Serious Man, much less eventual winner The Hurt Locker. In fact, Nine tied with J.J. Abrams’ Star Trek for the most number of nominations without getting a Best Picture nod. Difference is that Star Trek actually won one (that’d be Best Makeup).
Today, Nine is a footnote in the careers of those involved with the movie. Perhaps the greatest legacy of the play is that it was one of the first big Broadway shows based on a movie. These days, when everything from The Lion King to Beetlejuice to Evil Dead to Monty Python And The Holy Grail has been adapted for the musical theatre, it feels almost risky to base a show on a 1960s Italian art film. And who knows…maybe if Nine had made the transition back to cinema back in the 80s, maybe it would have been something fresh instead of the reheated pasta it became.
Nine is available on Blu-ray and DVD from Sony Pictures Home Entertainment.