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ON FAITH & MEDIA View Comments

Nine

By
John Mulderig
Source: Catholic News Service

The stylish world of mid-1960s Rome provides the backdrop for the glossy but morally shallow musical drama "Nine" (Weinstein).

Director Rob Marshall's adaptation of Arthur L. Kopit and Maury Yeston's 1982 Broadway hit—itself an homage to Federico Fellini's classic autobiographical fantasy "8 1/2," released in 1963—is, like both its sources, the portrait of a man in creative and personal meltdown.

World-weary, yet as much a prey as ever to his own relentless desires, Fellini stand-in Guido Contini (Daniel Day-Lewis), although a celebrated film director addressed as "Maestro" by virtually everyone he meets, is on the rebound, when we first see him, from two flops. Worse, he has yet to write a word of the script for his latest work—grandly entitled "Italia"—despite the fact that it's about to go into production.

As Guido scrambles to conceal his artistic dry spell, he also struggles to maintain the tangled relationships that complicate his private life. These include his marriage to much put-upon former actress Luisa (Marion Cotillard), his longstanding affair with sultry but unstable Carla (Penelope Cruz), his on-again, off-again tie to favorite leading lady and muse Claudia (Nicole Kidman) and his friendship with sensible costume designer and confidante Lilli (Judi Dench).

Also thrown into the emotional mix are the ghost of Guido's loving earth-mother Mamma (Sophia Loren) and—very much alive and kicking—flirtatious visiting Vogue journalist Stephanie (Kate Hudson).

Despite the occasional acknowledgment of the damage wrought by Guido's philandering, as penned by Michael Tolkin and the late Anthony Minghella, "Nine"—which mostly treats adultery as a symptom of sophistication—amounts to a celebration of its hero's long and busy sexual career.

As established in an extended flashback, this carnal chase dates back at least to the day when, as a boy, he led a party of his peers down to the local beach to ogle a willing display of flesh put on by the town prostitute Saraghina (Stacy Ferguson, aka Black Eyed Peas vocalist Fergie).

This escapade earns him a rebuke from Mamma and a caning by a priest (read: agent of the overly powerful, sexually repressive Catholic Church). Moving from the tyrannical to the hypocritical, as an adult, Guido encounters far friendlier cleric Don Mario (Michele Alhaique), who blithely assures him that, although the church condemns his films, the clergy all love them.

Rounding things off by demonstrating the church's irrelevance, Don Mario's boss, a star-struck cardinal (Remo Remotti) whom Guido presents with a photo of Claudia signed in lipstick, can offer the maestro some poetic advice—"The imagination is God's garden," he observes—but, as for answers or solutions, he has none to give.

The film contains a pervasive negative portrayal of Catholicism, brief nongraphic adulterous sexual activity, recurrent adultery theme, partial upper female and rear nudity, a couple of uses of profanity and a few crass terms. The USCCB Office for Film & Broadcasting classification is O—morally offensive. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

******
John Mulderig is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops. More reviews are available online at www.usccb.org/movies.


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Anthony Zaccaria: At the same time that Martin Luther was attacking abuses in the Church, a reformation within the Church was already being attempted. Among the early movers of the Counter-Reformation was Anthony Zaccaria. His mother became a widow at 18 and devoted herself to the spiritual education of her son. He received a medical doctorate at 22 and, while working among the poor of his native Cremona in Italy, was attracted to the religious apostolate. He renounced his rights to any future inheritance, worked as a catechist and was ordained a priest at the age of 26. Called to Milan in a few years, he laid the foundations of three religious congregations, one for men and one for women, plus an association of married couples. Their aim was the reform of the decadent society of their day, beginning with the clergy, religious and lay people. 
<p>Greatly inspired by St. Paul (his congregation is named the Barnabites, after the companion of that saint), Anthony preached with great vigor in church and street, conducted popular missions and was not ashamed of doing public penance. </p><p>He encouraged such innovations as the collaboration of the laity in the apostolate, frequent Communion, the Forty Hours devotion and the ringing of church bells at 3:00 p.m. on Fridays. </p><p>His holiness moved many to reform their lives but, as with all saints, it also moved many to oppose him. Twice his community had to undergo official religious investigation, and twice it was exonerated. </p><p>While on a mission of peace, he became seriously ill and was brought home for a visit to his mother. He died at Cremona at the age of 36.</p> American Catholic Blog Lord, help me make my life more about you and less about me. May others see you in me—your image and likeness. Teach me ways to increase my time with you, my service to others, and my love for my family, for strangers, and for the poor. You are the light in the darkness. With each new day, may we be light to one another.

The Spirit of Saint Francis

 
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