Two Days, One Night

Today I saw Two Days, One Night, starring Marion Cotillard.

Every one of us can name a time in our lives when we've been at the mercy of others—whether it be due to issues of health, finances or circumstance. The vulnerability that we feel in those moments is gripping.

Take that vulnerability and pile it on top of a woman who has just recovered from a terrible spell of depression and you have our main character here, Sandra (Cotillard). Her horrible boss has just asked each employee at her place of business if they would prefer to get a bonus or keep Sandra on the team. Financially, the business can't do both. Naturally, the majority choose the bonus, but after a confrontation with Sandra (and her supportive colleague), the boss agrees to have a 're-count' via secret ballot on Monday in case some felt pressured to vote against her.

With the eleventh-hour appeal granted, Sandra sets about (with the help of her husband) to visit each of her colleagues over the weekend and convince them to change their vote. This is a humbling feat, to say the least.

Sandra is the perfect hot mess; she wears bright-colored tops that contrast her unwashed hair and ashen face, only intensifying the pain she feels each time she has to 'beg' someone she works with for a second chance. She drinks water almost compulsively (choking down the pills that dull her feelings) and passively admits defeat when some say there's no way they will change their vote.

Marion Cotillard plays her straight, as the directing team of the Dardenne brothers always command. She's clearly the most beautiful person on screen, but you wouldn't know it from her demeanor. She just seems like someone who loves her family and tries harder than most to get out of bed each day.

The entire film is really a series of uncomfortable conversations, but as find ourselves shifting in our seats, we realized we're also glued to them—not even dreaming about getting up until we learn the outcome.

The gift the Dardenne brothers have for making us care about those down on their luck (see: The Kid with a Bike and L'Enfant for further reference) still burns bright.

~~~

Nine

Today I saw Nine, starring Daniel Day-Lewis and a slew of women.

Director Guido Contini (Day-Lewis) has the weight of the world on his shoulders. He believes this is because he is about to make another film, but really it's because he can't successfully manage his addiction to women.

We meet each of the ladies in his life through a series of musical numbers and brief encounters with him. His mistress (Penelope Cruz) gets the most screen time.

Really, there's not much of a story here and therein lies the problem. A famous, handsome director is approaching a state of nervous breakdown because he has it all and "all" turns out to be too much.

His wife Louisa (Marion Cotillard), aside from being beautiful, does nothing to convince us that he wouldn't get bored being married to her. She's alternately obedient and disobedient, then finally unwilling to look the other way at her husband's transgressions. He probably truly loves her, but then again, he probably truly loves all of them.

A consistent ear for him comes in the form of Lilli (Dame Judi Dench), a wise costume designer that sees not only his aesthetic vision, but also his wandering eye. She provides a motherly like counsel for him while his real mother (Sophia Loren) appears to be paraded out into numbers just so we can marvel at how beautiful she still is.

In the not-sure-why-they're-even-there department we find a Vogue writer named Stephanie (Kate Hudson) who offers possibly the best dance sequence, though shows no evidence beyond physical attraction that she has a connection with Guido. There's also a very random number with the voluptuous Saraghina (Fergie), an apparent beach recluse who enabled the younger Guido to learn about women. She's easily the best singer of the bunch (no surprise there), but her performance feels underutilized because she barely moves from her dancing chair.

Also on screen is the director's muse, Claudia (Nicole Kidman) who serves as nothing more than a reminder that Guido likes beautiful women. Hey, guess what? We already knew that.

His most believable and developed relationship is with his mistress Carla, who truly loves him despite her own marriage. He treats her as men typically treat their mistresses: hiding her away and orchestrating her every move, then forgetting about her once he's had his fill of the sex and adoration only a good mistress can provide. And yes, there are always consequences for all involved.

The shame about this movie is the amount of Oscar® caliber talent that shares the screen, but with the exception of Day-Lewis, doesn't get to prove it. He is amazing in whatever he does and this role is no different—in fact, the most delightful thing about Nine is finally seeing him act as a somewhat traditional leading man. He's sexy, he's well-dressed, he hasn't killed anyone (that we know of) and good God, he even sings!

But it's not enough to make up for this pieced-together series of vignettes that are too weak to amount to a quality musical.