From a lot 'of time, say when it came out on movie screens, I wanted to see Nine, directed by Rob Marshall's adaptation of the homonymous musical "broadwayese.
Now, the question is that this is a remake of 8 1 / 2 of Fellini, and it is from this film that I decided to leave.
I state that is the first Fellini film I see, why do not they want to spend almost never on TV, either because they are short of memory, and the only way to remember all the things I would do would be filled with Post-It home cars and office (in the first Post-It should write "remember to use Post-It as a reminder).
Digressions aside, we are talking about 8 1 / 2:
also give me the ignorant, the neophyte, but I do not really like that movie. Very heavy this sort of "the dream" that dominates the two-hour long film, with constant time shifts, changes in perspective, the contrast between slow and fast. Not having seen other films of Fellini, I do not know if this pattern has also been used elsewhere, it is certain that in several films "brain" Today I see the solution implemented in 8 1 / 2.
The story itself is interesting, look into the behind the scenes "of a mega film and the story of a director in crisis. Thinking back, the same All That Jazz in my opinion has drew hands down to this size.
Turning to "Nine", however, it seems that - besides wanting to remain faithful to the original story - the production wanted to refer to the two most successful musicals of recent years, Moulin Rouge and Chicago , with locations and bloated ballet troupes made up of dozens of artists. Here, as in the two "predecessors of the willing", they wanted to create a great cast, which made me discover Sophia Loren in singing version (ok, the song was not anything terribly difficult, but be really matching is not so common a dowry.
I laughed at the thought of spring 2002 and 2003, when there was not wise dance that is deprived of (more or less likely) choreography on the song "Roxanne" and "Cell Block Tango." Guess how many dance schools this year are adept at "Italian Cinema" (Kate Hudson splits !). For my tastes from
neofitignorante certainly met my Nine more favors. To be honest, I would love to see the theatrical version (I had a chance to see Chicago at the theater in London, with David in the role of Eddie Hasselhoof / Richard Gere, and I can tell you what theater is all alive with an intensity comparable to either or the best home cinema system Dolby Surround).
My call is to watch the two films, because certainly deserve both, for reasons - as you'll see from these few lines my - different but good.
I leave you with notes that more I liked it .... IT'S SHOWTIME!
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