nine

Director: rob marshall

Actor: daniel day-lewis,marion cotillard,penélope cruz,sandro dori

Data Published: Thu Dec 17 2009

Genres: Drama,Musical,Romance

Key Words: based on stage musical based on film,love triangle,cheating wife,cheating husband,implied nudity

IMDB: https://www.imdb.com/title/tt0875034/

WIKI: https://en.wikipedia.org/wiki/Nine_(2009_live-action_film)

Description: Nine is a movie starring Daniel Day-Lewis, Marion Cotillard, and Penélope Cruz. Famous film director Guido Contini struggles to find harmony in his professional and personal lives, as he engages in dramatic relationships with his...

Plot: Guido Contini (Daniel Day-Lewis) is a gifted Italian filmmaker in 1965 at the famous Cinecittà movie studios in Rome. At the age of fifty he has developed writer's block and surrealistically summons all of the women in his life, alive and dead, to help him recapture inspiration. His mind wanders on his unfinished set, as dozens of women dancers and the film’s leading ladies appear: Claudia Jenssen, his star actress; his wife Luisa; his mistress Carla; his costume designer and confidant Lilli; his beloved Mamma; Stephanie, an American fashion journalist from Vogue; and Saraghina, a prostitute from his childhood; ("Overture Delle Donne"). He's charming and colorful, avoids any clear answers when questioned about his new movie, because he doesn't have an idea for one. Escaping the biting probes of reporters, he creates an elaborate fantasy ("Guido's Song"), where he explains that he wishes to have the naiveté of youth yet the wisdom of age. In short, he wants everything, though he knows that's impossible. Escaping to a Spa Hotel on the Italian coast, he receives a phone call from Carla, his mistress ("A Call from the Vatican") seducing him as he listens on the other end. Not knowing Guido's wife will be there, she arrives at the spa, expecting to share his suite, but is upset to find that she’s staying in a shabby pensione by the train station. Meanwhile, Guido meets with Lilli, his costume designer, and begs for inspiration, confessing he has no script. A sequence of musical numbers ensue, seemingly from Guido's imaginative brain...first Lilli urging him to use his film to entertain, inspired by the Folies Bergère, a Parisian music hall that featured showgirls, where she 'learnt her art' ("Folies Bergères"). Then Guido remembers Saraghina, a prostitute who danced for him and his boyhood schoolmates on a beach, teaching them the lust and joy of life's sensual and sexual pleasures ("Be Italian"). Young Guido is caught by his school teachers/priests and punished by his principal. He awakens from his reverie on top of Carla, then in a fit of anxiety he abruptly leaves her to meet his production team for dinner. At dinner, he’s happily surprised to see his wife Luisa. He embraces her and wishes her a happy birthday, promising that when she returns home, the house will be filled with flowers. Luisa sings of the life of compromise she's made, abandoning her acting career to be at at Guido's side in supporting his art ("My Husband Makes Movies"). But she then notices Carla entering the restaurant and storms out immediately. Guido doesn’t understand why and follows her. She ignores him and when he returns to the restaurant and sees Carla, he demands that she return to the pensione. She departs, heartbroken. Later, unable to pacify Luisa he meets Stephanie in the hotel bar, who describes her love for his movies though clearly from the point of view of an ignorant fashion editor ("Cinema Italiano"). Later in her room, watching her undress, Guido realizes how much he cares for and needs his wife and seems to come to his senses. He returns to her and promises that he’s finished with cheating. Luisa embraces him, but the phone rings and he’s called away to help Carla, who’s overdosed on pills in a suicide attempt. It is becoming impossible for Guido to juggle all the women and contradictions in his life. He stays with Carla until her husband arrives, then returns to the hotel to find that Luisa has left and the crew has returned to Rome to begin filming. Distraught, he has a vision of his mother singing him a lullaby when he was young ("Guarda La Luna"). Later, in Rome, he phones Luisa from the studio to beg her to come to the screen testing that evening. His leading lady, Claudia, arrives in costume. When she senses there is no written script, she leaves, Guido in tow. Guido confesses that there is indeed no script, but he needs Claudia to inspire one. They take a walk. She asks him what he wants the film to be about and his description closely resembles his own ordeal: a man lost and in love with so many women. When they stop to rest, she explains that she loves him but he is unable to love her ("Unusual Way"). Guido returns to review screen tests of new actresses as Luisa arrives. She watches them and is devastated to see a clip of an actress in a scene drawn from a private memory she and Guido shared years ago. It is the last straw for her, to see him exploiting her private life so publicly before the world. In an angry and imaginary public striptease she leaves Guido for good ("Take It All"). Utterly abandoned by all those whom he has selfishly exploited, Guido finally comes to terms with the truth ("I Can’t Make This Movie"), realizing that he’s lost everything and everyone: his wife, his muse, his talent, and has nothing with which to make a movie. He apologizes to the crew, admitting that there never was a movie, and he has the set destroyed before leaving Rome. Two years later, Guido is in a café in Anguillara looking at an advertisement for a play starring Luisa. He waits outside her theatre that night, and watches her leave with a man. He walks with Lilli a few days later and tries to find more information about her. Lilli tells him that she’s not going be to be the middle-man for them, implying that Luisa asks for him as well. She asks if he will ever make a movie again. Guido answers that the only thing he would want to make would be a movie about a man trying to win back his wife. As he speaks, he is suddenly on a film set, making that film, (which is, in fact, the film we the audience have just seen). Surrounded now by his actors and his boyhood nine-year-old self, Guido takes his place in the director’s chair, with the cast of his entire life assembled on the scaffolding behind him, including (as in the film's opening) the living and the dead. We see the arrival of his mother and the imagined nine-year-old Guido running now to sit on the mature Guido’s lap ("Finale") as his fantasy meets his reality. Luisa quietly arrives without being seen and watches in the background, as a chastened Guido who has learned something about the need to grow up, quietly directs a scene with a young actress and actor who are sympathetically playing the younger Guido and Luisa deeply in love . Luisa sees all this... as Guido is slowly raised high on a crane and calls, “Action!”