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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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Augustine of Canterbury: In the year 596, some 40 monks set out from Rome to evangelize the Anglo-Saxons in England. Leading the group was Augustine, the prior of their monastery in Rome. Hardly had he and his men reached Gaul (France) when they heard stories of the ferocity of the Anglo-Saxons and of the treacherous waters of the English Channel. Augustine returned to Rome and to the pope who had sent them—St. Gregory the Great (September 3 )—only to be assured by him that their fears were groundless. 
<p>Augustine again set out. This time the group crossed the English Channel and landed in the territory of Kent, ruled by King Ethelbert, a pagan married to a Christian, Bertha. Ethelbert received them kindly, set up a residence for them in Canterbury and within the year, on Pentecost Sunday, 597, was himself baptized. After being consecrated a bishop in France, Augustine returned to Canterbury, where he founded his see. He constructed a church and monastery near where the present cathedral, begun in 1070, now stands. As the faith spread, additional sees were established at London and Rochester. </p><p>Work was sometimes slow and Augustine did not always meet with success. Attempts to reconcile the Anglo-Saxon Christians with the original Briton Christians (who had been driven into western England by Anglo-Saxon invaders) ended in dismal failure. Augustine failed to convince the Britons to give up certain Celtic customs at variance with Rome and to forget their bitterness, helping him evangelize their Anglo-Saxon conquerors </p><p>Laboring patiently, Augustine wisely heeded the missionary principles—quite enlightened for the times—suggested by Pope Gregory the Great: purify rather than destroy pagan temples and customs; let pagan rites and festivals be transformed into Christian feasts; retain local customs as far as possible. The limited success Augustine achieved in England before his death in 605, a short eight years after he arrived in England, would eventually bear fruit long after in the conversion of England. Augustine of Canterbury can truly be called the “Apostle of England.”</p> American Catholic Blog When we go through pain it is easy to feel abandoned or forgotten, but suffering doesn’t mean God doesn’t love us, He does. Even Jesus suffered, and He was completely without sin.

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