Nine
When a movie adaptation of a hit musical is made, the director is often given the chance in picking its choice moments. Based on Federico Fellini’s film ‘8 and a half’, Nine’s Broadway success would indicate a dearth of memorable sequences. Unfortunately this fails to transpire with Rob Marshall’s usually steady direction coming unstuck by its insipidly hollow story.
Italian movie director Guido Contini (Daniel Day-Lewis) is in the throes of his latest production. On the comeback trail after a series of flops, his current work promises a return to form. Sadly his mind is elsewhere as his romantic tribulations stymie his creative energy. With his wife Luisa (Marion Cotillard) and mistress Carla (Penelope Cruz) vying for attention, his thoughts also turn to his mother (Sophia Loren). Depressed by his selfish actions, his acceptance of his callous nature becomes the key in unwinding the personal wreckage of his life.
With a cast also including Judi Dench, Nicole Kidman and Kate Hudson, the recipe for a tantalising tale is certainly there. Especially true given that Lewis’ role is an interesting one as a man unable to move forward. The loss of his artistic imagination makes him less of a person in his thinking for which he appears to blame women for. With such an unapproachable character it’s a wonder why women have fallen for him, something which Nine fails to fully make clear. Sadly this is its biggest problem, as the vague caricatures on display turn a feisty musical into a feeble plod.
This isn’t any fault of the musical numbers, as all are terrific. Brilliantly costumed and dazzlingly performed, Nine kicks up a notch whenever these surface. Unfortunately the moments between sink its hard work, as its tonal focus becomes clouded. At once playing events for laughs and then switching to pure drama, the story does a good job in ensuring you never invest in the characters. As a consequence it’s difficult to be fully engaged despite some very good acting. Disappointing given the personnel involved, although the cinematography brings a lushness to the wonderful Italian locations.
After a near thirty year wait to arrive on screen, Nine can only be described as a damp squib. It looks and sounds great, but the emotional connection needed is missing with the film seemingly only interested in presenting a shallow display of vaudevillian theatrics.
Rating out of 10: 4
Bran Nue Dae
Based on a popular Australian stage play, Bran Nue Dae defines the term ‘dare to be different’. It’s not often an Aboriginal movie musical comes along let alone any from this country. Despite its many short-comings you can’t help but admire a production carving its own place amongst a sometimes stagnant industry.
Desperately in love with Rosie (Jessica Mauboy), Aboriginal teenager Willie’s (Rocky Mackenzie) shyness prevents him from asking her out. Sent to a boarding school run by the fearsome Father Benedictus (Geoffrey Rush), Willie determines to finally grab his dream girl. Wanting to return home, he flees the school with the help of his Uncle (Ernie Dingo). Chased by an enraged priest, tripped out hippies and a randy cafe owner, Willie’s quest is made easier by the serenity of song.
One feels a bit of a Scrooge by criticising too much as its energetic enthusiasm is certainly beguiling. Running for barely 80 minutes, its dance sequences are very well staged with tunes blended well amongst the wafer thin screenplay. Whilst there is some enjoyment, the thinly drawn stereotypes and badly written script work hard in undoing any plusses. For any story to work there must be a chance to know the characters and learn what drives them. None of that is in evidence as the briefest of introductions make way for a pedestrian road trip formula.
Another factor is its reliance on sheer co-incidence in putting characters together. Particularly bewildering at its conclusion, the film strains credibility without offering something in return to the viewer. Obviously Bran Nue Dae’s chief function is to provide up-lifting entertainment, but some care in establishing a credible cast of characters would have done wonders. On the acting side, Mackenzie and Mauboy show promise with Rush over-acting outrageously much to the film’s detriment. Thankfully the cast can sing and act at the same time with the cinematography making the most out of the stark outback locations.
Even with a short running time, Bran Nue Dae is a bit of a struggle to get through with a very crude narrative structure barely masked by the spirited singing. To its credit it presents something different with the hope that the recent glut of forlorn dramas will make way for productions willing to take more risks.
Rating out of 10: 5