Looking back at Oscar material

Nine

A few weeks ago I felt like watching the musical Nine. Every single aspect of this film was an "Oscar aspect", as in something with a quality stamp. It was the stars, it was Rob Marshall comeback to the musical genre, it was the Broadway hit, it was Weinstein behind supporting the film, it was the history of the film itself. It was after all a very standard musical, with some exceptional sequences, and a standard story especially for its underline bases. Nonetheless, I absolutely loved to see this film on a big screen, I was in heaven. So here are my favorite Nine sequences.

Take it All

When I watched this sequence on a big screen, I must say, I came…what? I mean, I came emotionally, that is. There’s probably no other way to put it. It’s the transformation from a quiet deep reserved melody, it is class and then it is the step ahead, the exhaling and suffocating coming out, it’s the striping of everything that was kept inside until that moment. And it’s the look on her face. It’s always the look on her face.

Folies Bergère

Judi Dench nails this fucking shit and that is it. That’s all I have to say.

Be Italian

This would probably be a number one if Marion Cotillard wasn’t in this film and if Judi Dench wasn’t so damn good. I think it is a tremendous act, breathtaking, no matter what the rest of the film means.

My Husband Makes Movies

Because it’s Marion Cotillard, who just watched her husband’s lover come in and her world breaks down into pieces. Why would this act be ahead of Cinema Italiano and so on? Again, because it’s Marion Cotillard.

Cinema Italiano

This is Kate Hudson’s face and just for that I take my hat off to the casting callers, or not. It is Kate Hudson, her brightness, her laugh, her energy and disposition. It’s also the fabulous rhythm of the whole show and she nailed it. A great moment to watch over and over again.

Unusual Way

It was probably by watching a fifth time that I began to admire Kidman’s little presence in this film. I now can see her character much clearer than before. I obviously blame Kidman for that and because I couldn’t stand looking at her face. But usually I overcome such situations, even if it takes time, even if it’s only by the fifth time or so. So I began to appreciate her very unusual words for the time, it makes a lot of sense.

In spite of the whole context behind this film being constantly in my mind, I’m referring to  Fellini’s 8 ½ and so on, I think one way to appreciate this film, at least for me, is by looking at its parts separately.