Line #97 Theatre/NineMusical


1	[[quoteright:289:https://static.tvtropes.org/pmwiki/pub/images/NinePlaybill.jpg]]
2
3	->''I would like to be here.\
4	I would like to be there.\
5	I would like to everywhere at once;\
6	I know that's a contradiction in terms.\
7	And it's a problem,\
8	Especially when\
9	My body's clearing forty\
10	As my mind is nearing ten.''
11	-->--'''"Guido's Song"'''
12
13	A 1982 musical adaptation of Creator/FedericoFellini's classic ''Film/EightAndAHalf''. ''Nine'' was conceived by librettists Arthur Kopit and Mario Fratti, and songwriter Maury Yeston. The story is that of world-famous film writer/director Guido Contini (played by Creator/RaulJulia in the original Broadway production), a man who's facing a midlife crisis on many fronts as he turns forty. On one hand, he can't come up with a script for his latest film. On another hand, his marriage to his wife Luisa is on shaky ground. Factor in the ''other women'' in his life, including his mistress, his confidant and costume designer, his film star muse, and his mother, and Guido's [[ManChild got]] [[TheCasanova some]] issues.
14
15	It was [[RecursiveAdaptation adapted into a film]] in 2009, with the cast consisting of Academy Award winners Creator/DanielDayLewis, Creator/MarionCotillard, Creator/PenelopeCruz, Creator/NicoleKidman, Creator/JudiDench, and Creator/SophiaLoren; Academy Award nominee Creator/KateHudson, and Music/{{Fergie}}.
16
17	Not to be confused with the "stitchpunk" animated film ''[[WesternAnimation/{{Nine}} 9]]'', which came out three months before Nine's film version was released.
18	----
19	!!This show and film feature examples of:
20
21	* TwentiesBobHaircut: Lili sports one in the film. As the film is set in the 60s, Lili would have been the right age to be TheFlapper in the 20s.
22	* AdaptationalAttractiveness:
23	** Although Saraghina in ''Film/EightAndAHalf'' is a BigBeautifulWoman, she's still meant to be chubby, but she's been played by more slender actresses on stage. Fergie plays her in the film, but did have to gain weight for the role.
24	** The film's version of Stephanie Necrophorus turns the older, vitriolic film critic of the musical into a young reporter played by Kate Hudson.
25	* AdaptationalNationality:
26	** Claudia Nardi in the original show is Italian. In the film, where she's played by the very fair and blonde Nicole Kidman, her last name becomes 'Jenssen' - implying she is Dutch or German.
27	** Stephanie is Italian in the original musical, but becomes an American in the film.
28	** Luisa is Italian but becomes French in the movie to accommodate Creator/MarionCotillard (though she's said to have Italian ancestry).
29	* AdaptationalPersonalityChange: In the musical, Stephanie Necrophorous is something of a CausticCritic , whereas in the film she's just another of Guido's admirers.
30	* AgeLift: For the film version, Guido's age was changed to fifty. (Daniel Day-Lewis was 52 in 2009, when the film was released.)
31	* AllMusicalsAreAdaptations: The original musical is itself an adaptation of Fellini's ''Film/EightAndAHalf''.
32	* AllTakeAndNoGive: Guido. As put in the song "Take It All".
33	--> "You're just an appetite. And if you'd stop being greedy you'd die."
34	* BeardOfSorrow: In the film, Guido grows one after [[spoiler: his film fails and Luisa leaves him]]. He claims it's so he can go about [[BeardnessProtectionProgram without being recognised]].
35	* BittersweetEnding:
36	** [[spoiler:In the 2003 revival, Luisa embraces Guido just as the curtain falls.]]
37	** [[spoiler:In the film version, Luisa sneaks onto the set and hides in the shadows as Guido makes his newest film.]]
38	* {{Brownface}}: Daniel Day Lewis wears a hint of a tan to portray an Italian filmmaker.
39	* BreakupSong: From the stage version, "Simple" (Carla) and "Be on Your Own" (Luisa).
40	* BSODSong: "I Can't Make This Movie."
41	* TheCasanova: Deconstructed (although Guido is definitely more in the LookingForLoveInAllTheWrongPlaces category) and lampshaded with Guido's film, a filmed opera version about the TropeNamer starring Guido himself that resembles Guido's own life a little too closely.
42	* CerebusSyndrome: "My Husband Makes Movies" starts out as an upbeat number about how Luisa is proud of her husband's success. It quickly becomes very sombre as we see how their marriage is in shambles.
43	* ComingOfAgeStory: As Guido turns forty, he looks back on his life and realizes it's finally time to grow up.
44	* CompositeCharacter: [[InNameOnly Stephanie]], the American reporter in the film version, is a composite of the associate producer Stephanie Necrophrous and reporter Lina Darling from the musical.
45	* CoolOldLady: Liliane, having been the vedette of the Paris Folies Bergeres and, in the film, the costume designer, who's also the OnlySaneMan and the only person who both encourages Guido and calls him out on his stupidity.
46	* DeadpanSnarker: In the musical, Stephanie is this in spades, and to an extent so is Liliane.
47	* DefiantStrip: At the end of the "Take It All" number, Luisa gradually strips off to symbolise how her husband has taken everything from her. The end of the song has her ripping her bra open, which coincides with her breaking it off with him in real life.
48	* DownerEnding: [[spoiler:Guido's film, and his marriage, both die.]]
49	* DrivenToSuicide:
50	** [[spoiler:Guido nearly ends his life after his midlife crisis overwhelms him, but he is stopped by his nine-year-old self. This is absent in the film version.]]
51	** [[spoiler:In the film version, it is Carla who nearly ends her life after Guido rejects her.]]
52	* TheElevenOClockNumber: "Getting Tall"
53	* EpicMovie: In-universe, ''Casanova'' (in the musical)/''Italia'' (in the film) seems to be that kind of movie.
54	* EstablishingCharacterMoment: At the beginning of the musical, Guido is shown with Luisa, who is trying to tell him about a meeting she had with an old friend of hers. He's not listening and drifts off into fantasizing the opening number "Overture delle Donne".
55	* EvenTheGirlsWantHer: If you weren't a fan of Penelope Cruz before [[https://www.youtube.com/watch?v=jT0zb47bR50 A Call to the Vatican]], you will be.
56	* EveryoneLovesBlondes:
57	** Stephanie's portrayal in the movie, given that she's played by Kate Hudson.
58	** Claudia as portrayed by Nicole Kidman has this image as well, being a glamorous blonde who is Guido's favourite leading lady.
59	* FanDisservice: In the film during "Take It All", Luisa, portrayed by gorgeous Creator/MarionCotillard, declares her intention to leave him, Guido imagines his wife as a burlesque dancer performing a tantalizing strip-tease while a bunch of callow men catcall and fondle her, all while she tearfully sings of what Guido has reduced her and her self-worth to.
60	-->'''Luisa''': ''(singing)'' You had the world, you had your fling!\
61	You wanted more than everything!\
62	You got your wish, you got your prize!\
63	Now take it right between your thighs!\
64	You grabbed for everything my friend,\
65	But don't you see that in the end,\
66	There will be ''NOTHING'' left of me!
67	* FlatCharacter: Creator/RogerEbert criticised all the characters in the film for being this. "But that's what they are, stars, because the movie doesn't make them characters".
68	* GhostSong: Technically, anything Mama Contini sings. The film version's "Guarda la Luna" counts especially.
69	* GratuitousFrench: Liliane in the musical
70	%%* IntercourseWithYou
71	* InNameOnly: The film's version of Stephanie Necrophorus bears little to no resemblance to her supposed stage counterpart other than her name, being a vapid American reporter rather than a renowned Italian film critic hired by Liliane to assist her with producing Guido's film.
72	* IWantSong / IAmSong: "Guido's Song".
73	* KnowNothingKnowItAll: "Cinema Italiano" has Stephanie singing about everything she loves in Guido's films. But she only focuses on the superficial aspects, such as the camera angles, costumes and accessories. WordOfGod is that the song represents journalists who write on subjects they know nothing about.
74	* LingerieScene: Carla is clad in sexy pink lingerie for "A Call From The Vatican".
75	* MaleGaze: There's one rather gratuitous bit in the film where Stephanie is in the dressing rooms before the "Finale" - and the camera tilts down to focus on her ass.
76	* {{Manchild}}: Guido, by his own admission, has a mentality similar to that of a young boy despite approaching middle age.
77	* MaybeEverAfter:
78	** In the film [[spoiler: Luisa is seen sneaking onto the set to watch Guido start shooting. Lili says earlier that she assumes Luisa is seeing someone new but isn't sure - and the last shot of Luisa is her smiling. This leaves it open as to whether she and Guido may reconcile]].
79	** It's the same case for [[spoiler: Carla and her husband. The last we see of her (outside of Guido's imagination) is him taking her back home, implying he knows about the affair. It's left open whether their marriage will survive]].
80	* MovieBonusSong: Three of 'em!
81	** [[https://www.youtube.com/watch?v=IMIt8dhh4pg "Cinema Italiano"]], a solo for Stephanie Necrophorus, establishing both her character and the popularity of Italian movies in the 1960s for the audience's benefit. (despite the fact she is the exact opposite type of character in the musical)
82	** [[https://www.youtube.com/watch?v=8Zpr-Iz_fFI "Guarda la Luna"]], replacing the show's titular song as the solo for Guido's mother. Based on the "Waltz for Nine" instrumental from the second act.
83	** [[https://www.youtube.com/watch?v=3Scm2dlDg-g "Take It All"]], which replaces Luisa's "Be On Your Own", since Yeston believed the latter to be to inactive and stage-y for film. Originally conceived as a trio for her, Carla, and Claudia.
84	* MusicalWorldHypothesis: Rob Marshall's film blends the 'All In Their Head' and 'Adaptation' theories. Each musical number is a manifestation of Guido's inner thoughts and memories. Or else it's a representation of a conversation he's having with someone - namely his dramatic scenes with Claudia and Luisa.
85	* TheMuse: Each of the women in Guido's life is one to him in some way. In [[Myth/ClassicalMythology Greek mythology]], there were nine muses, which could be what his film title ''Nine'' is referring to.
86	* MyGodWhatHaveIDone: Guido realizes what a jerk he's been, and says the line, when [[spoiler:Luisa leaves him and the film dies.]]
87	* NPlusOneSequelTitle: Or N+1/2 Adaptation Title in this case. This musical is an adaptation of ''Film/EightAndAHalf'', called such because Creator/FedericoFellini directed 6 features and 3 shorts (or "7 and a half" films, counting each short as "half" a film) before it. The musical is counted as a new "half", bringing the total to 9.
88	* {{Oktoberfest}}: The musical, though set in Italy, provides a taste of this flavor with the number "The Germans At The Spa."
89	* OpenShirtTaunt: Rare female example. At the end of the "Take It All" number, Luisa gradually strips off to symbolise how her husband has taken everything from her. The end of the song has her ripping her bra open, which coincides with her breaking it off with him in real life.
90	* OscarBait: Oh yes, very much so. In fact, take a look at the film's cast: All but ''two'' of the film's main stars have won Oscars. That's to say nothing of the Oscar winners and nominees on the crew. In the end, it could only manage four nominations at the Oscars, far less than the ''thirteen'' raked in by ''Film/{{Chicago}}'' seven years earlier.
91	* ParentalLoveSong: Both the tile song in the musical and "Guarda La Luna" in the film, sung by Mama Contini, count as this.
92	* PatterSong: "Contini Submits", "The Script", Stephanie Necrophorus' section of "Follies Bergeres".
93	* PrimaDonnaDirector: Guido.
94	* TheReasonYouSuckSpeech: Luisa delivers one very powerful one in between lines of her song "Take it All" [[spoiler:Thank you...for reminding me I'm not special. You don't even see what you do. Even the moments I think are ours, it's just you working to get what you want... You're just an appetite, and if you stop being greedy you die. You take everything and I'm empty. You know, I'm glad I came. I can see now it's hopeless.]]
95	* ScreenToStageAdaptation: And back again with Rob Marshall's film.
96	* ShakingHerHairLoose: PlayedForDrama actually. We're shown a memory of Luisa and Guido's first meeting, where he took her hair down during a screen test. [[spoiler: When she sees him doing the same to another actress in her screen test, it's the last straw for their marriage]].
97	* ShowWithinAShow: Guido's film. ''Casanova'' in the musical, ''Italia'' in the film.
98	* TheSmurfettePrinciple: Inverted in the stage musical, where Guido is the only adult male in the cast.
99	* SoloDuet: Lampshaded by Guido during his IAmSong as he sings how much he'd "like another me to travel along with myself/I would like to be able to sing a duet with myself."
100	* SwingLowSweetHarriet: In the film, Carla makes use of a swing during "A Call From The Vatican". Given that she's wearing lingerie, {{fanservice}} is most definitely intended.
101	* TroubledProduction: In-universe. The production of Guido's future masterpiece ''Italia'' is, to put it very mildly, a living hell: no script, no cast, outrageous sets and costumes, and one crazy director.
102	* YouCanLeaveYourHatOn: Luisa's movie song "Take It All" has her stripping off to her underwear (ending in ToplessnessFromTheBack) [[spoiler: as she breaks things off with Guido]].

Context Theatre / NineMusical