Two films:- Star studded cinematic musical revival centered on an Italian film director struggling with writers' block and the women who unlock him
- Low-key character piece about a has been country singer negotiating addictions and the woman who rediscovers him
Why they soar?
Nine, with an ensemble filled with every hot actress of now (Marion Cotilliard, Penelope Cruz) with leading ladies of the past (Judi Dench, Sophia Loren). Not to mention Daniel Day-Lewis who slips seamlessly into every role (Guido? Bill the Butcher? John Proctor? There may be blood, but there should be Oscars...always) Crazy Heart, with a cast of hot actors/resses of now (Colin Ferrell, Maggie Gyllenhaal) and legends of the past (Robert Duvall, Jeff Bridges).
Because art and the creation of art is inherently performative. We like seeing inebriated Bad Blake strum his guitar because he is in his element and actually producing some great tunes. We get characterization and a concert. In Nine, the production numbers which fuel the production of the film within the film are cinematic grandeur (Chicago director Rob Marshall is up to all of his old tricks, songs are contained within the characters' heads rather than displayed as bursts of spontaneous emotion) and also reveal Guido's past liasons which have led to his current predictament.
Why they falter?
Writers' block is internal. The only person the male protagonist has to fight with is himself. He may project/displace his tortured anxieties but it doesn't lead to equal interplay. Mostly it provides one-sided whining about missing muses.
Abusive personalities are tiresome. How interesting is it to see drunks puking over the toilet? Awakening in debilitating stupors? No wonder neither main female love interest (Maggie and Marion) agree to return to them. Who wants to be subject to that emotional recklessness? Meanwhile I found the child abandonment scene in Crazy Heart to be completely manipulative, sheer plot device to impose conflict. Cheating.
What we take away?
The music. Both films have terrific and infectious soundtracks which capture a mood or engage an emotion that support otherwise simple scripts. Do I currently have Be Italian on repeat? Yes. Do I recognize that Cinema Italiano is completely Marty Yeston's plea for a Best Original Song nom? Yes. Doesn't change a thing.
However, I don't forecast humming either tune come next year. But I'll sing the films' praises for a little bit.
Union Square Xmas market...get your hot cider for $2. Perfect holiday fare with this double billing.
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