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Non-Review Review: Nine

I have to admit, I greatly enjoyed Nine, even if it never really felt substantial or fulfilling. I’m not convinced that the film works as a story, but it does provide director Rob Marshall the opportunity to put together setpiece after setpiece, each choreographed with impeccable skill. Indeed, given his ability to stage glitzy sequences and the sheer volume of talent in front of the camera, coupled with lavish production values and a mesmerizing setting, it’s easy to forgive Nine its faults – the most glaring of which is that nothing really happens for the first three-quarters of it, and then stuff happens which doesn’t necessarily feel earned in the last quarter. Still, it looks damn pretty and the soundtrack is quite catchy.

Now that's a showstopper...

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Who Do You Trust? Directors and Faith…

I remarked last week that I wholeheartedly trusted Christopher Nolan when he decided not to recast the Joker role in Batman 3, despite the fact that the character was rumoured to play a large in the planned sequel to The Dark Knight. However, it got me thinking as to what my reaction would have been had he announced that he was recasting the role, and that it was essential to the finale of his planned trilogy, and that (having worked with his star) Heath might even understand. I don’t know – I probably would have been a little skeptical and uncertain; I may even have hesitated at the suggestion. I accept, however, I probably would have trusted him on it. It’s a scarce commodity these days when the internet has given everyone a voice with which to trumpet their opinions and everybody has an opinion on everything. So, when should we trust a director? When do I trust a film maker, no matter what they choose to do?

Now that's trust...

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Do We Give Too Much Kudos to Established Directors?

There was (as ever) a rather interesting piece in the Guardian a few weeks back which suggested – what with Alice in Wonderland and Shutter Island coming out within weeks of each other and dominating film discussion in March – perhaps we tend to focus too much on established directors like Burton and Scorsese.

Because it’s one thing for a studio to take a project and market it with such frenzied hyperbole that for a week or two seeing it becomes all but obligatory for anyone wanting to remain a la mode. It’s quite another for film-goers to convince ourselves we need to see that same project through an increasingly forlorn belief in its director as a still-vital and relevant force. Whatever the implications of Burton’s Alice may be for exhibitors and all that newly-installed 3D technology, the nuts-and-bolts issue here is surely the length of time any once-great film-maker is given in the cinephile heart purely on the basis of dusty triumphs a decade or more in the past.

I thought it only fair to wait until I had seen bother of those big films to comment. Being entirely honest, I don’t think it’s entirely reasonable to lump Burton and Scorsese together as some sort joint proof of that assertion. In fact, I’d argue the two are very different sides to the same coin.

Is Burton picking his own creative bones dry?

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