About midway through “Nine,” Stephanie, the Vogue reporter played by the ravishing Kate Hudson, informs us that “style is the new content” for her readers. Applying that quotation to Rob Marshall’s latest film adaptation of a Tony Award-winning musical, the movie is a flashy work of pure artistry that dazzles the eye. While style is a crucial part of “Nine,” the movie will be remembered for its phenomenal cast who turn in mostly solid performances but are thwarted by inept direction.
The movie’s story is indirectly based on the life of Italian film director Frederico Fellini, yet it seems to now have some striking parallels to the recent downfall of Tiger Woods. Guido Contini (Daniel Day-Lewis) is a beloved director, yet his last two films have been somewhat underwhelming. He hopes to steer himself back on the path to success with a new film, “Italia.” However, he is in such mental anguish because he cannot commit himself to anything or anyone. Guido has a gorgeous wife, Luisa (Marion Cotillard) at home whom he constantly neglects in favor of the temptress Carla (Penelope Cruz).
And the problems with women don’t end there. He has to deal with his indignantly querulous muse (Nicole Kidman), an American reporter who is quite the flirt (Hudson), a sassy costume designer and old friend who can sense the torment (Judi Dench), and his mother (Sophia Loren) whose legacy still haunts him. As Guido tries to find inspiration through these women, bouncing between past and present, he only finds himself more conflicted and lost. One major success of “Nine” is using cinematic devices like choppy editing and constant changes between black and white and color to show this torture. Daniel Day-Lewis is plenty capable of showing it as well, although his voice lacks some of the vocal power that the Broadway actors had in this part.
Marshall and the Movies 
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