Famous film director Guido Contini struggles to find harmony in his professional and personal lives, as he engages in dramatic relationships with his wife, his mistress, his muse, his agent, and his mother.
As the American Civil War continues to rage, America's president struggles with continuing carnage on the battlefield as he fights with many inside his own cabinet on the decision to emancipate the slaves.
Traveling dentist O'Connell traverses South America on his motorcycle for the 'Eversmile' foundation of New Jersey, in a fight not only against caries, but also against fear, ignorance, ... See full summary »
Arrogant, self-centered movie director Guido Contini (Daniel Day-Lewis) finds himself struggling to find meaning, purpose, and a script for his latest movie endeavor. With only a week left before shooting begins, he desperately searches for answers and inspiration from his wife, his mistress, his muse, and his mother. As his chaotic profession steadily destroys his personal life, Guido must find a balance between creating art and succumbing to its obsessive demands.Written by
The Massie Twins
"Take It All", "Cinema Italiano", and "Guarda La Luna" were specifically written for the movie by Composer Maury Yeston. The first one was nominated for an Oscar and the second one for a Golden Globe. They both lost to "The Weary Kind", by T Bone Burnett and Ryan Bingham from Crazy Heart (2009). "Take It All" was originally written as a trio for Nicole Kidman, Marion Cotillard, and Penélope Cruz, but just before shooting, rearranged as a solo for Cotillard, according to Music Supervisor Matt Sullivan. "Heart-wrenching" is how Yeston described the performance by Cotillard. See more »
When Guido drives up to the Cinecitta film studios in his open top Lancia with his producer as passenger, parked outside (to left) is a (quite distinctive) two tone white and blue paint job rear-engined (flat front radiator) car (another Lancia?): as soon as they pull up inside the lot, as they exit the car and walk around the lot, camera pulls back to show an exact same (license plate same /similar) car parked on other side. See more »
What would you say the limit to what you could show in movies these days is?
What would you like to see that I haven't already shown you?
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Let me say off the bat that seeing Sophia Loren and Sophia Loren singing gave me a chill. That is quite a bit to get from a film. Chills. I knew I had to forget this was a musical adaptation of 81/2, but I couldn't forget the way I forgot that "Sweet Charity" was a musical remake of "The Nights Of Cabiria". Here the score is iffy and scarce and the story, translated into musical numbers is kind of shallow and, quite honestly, not enough. There are, however, moments to enjoy. The look of it is great, and Marion Cotillard makes something enormous from the little she was given. Penelope Cruz dances an erotic dance and Kate Hudson, well I don't quite know what she was doing. Nicole Kidman is starting to look like a wax work, what a pity! And Judi Dench is always fun. I was reminded she was a sublime Sally Bowles in the first London production of "Cabaret" - Daniel Day Lewis has been one of my favourites for a long time now but here he is far too pale, inside and out. I want to repeat that the whole thing is worth it just to have a glimpse of Sophia Loren singing. So, 6.
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