By Lubna Abdel-Aziz Few of us have spent time reflecting on the number nine. Numerologists however, view number nine as a remarkable number in many respects. Revered by mathematical scientists and followers of the occult, it is also significant to Biblical scholars who believe in its supernatural and spiritual design. What are the attributes of the number NINE? It is the highest single digit number in the decimal system, possessing properties and powers found in no other number. It is the number of finality indicating the conclusion of a matter -- the END. The ancient Greeks held their nine muses in high esteem. Searching for your muse is tormenting, finding your muse is blissful. It inspires you to float high above all mortals on 'cloud NINE.' Could this have been the inspiration behind the Italian director Federico Fellini's 1963 masterpiece 8 1/ 2, with a longing to reach the number nine? The official explanation refers to the number of films the director had produced thus far, 6 features, 2 short segments, and the collaboration of dir. Alberto Lattuada, the sum of which, he figured would be 8 1/2 films. Judging from the subject matter, surely his search for a muse was lurking in his unconscious. The story of the film, definitely autobiographical, is about dir. Guido Anselmi, who is going through a mental or director's block. Frustrated with his condition, he seeks inspiration to rejuvenate and invigorate his career, his private life, his physical energy, and above all his creativity. As Guido struggles half-heartedly to work on his new science-fiction film, he is immersed in a series of autobiographical images of dreams, memories, and fantasies in flashbacks that are interwoven with the present. "A sort of private monologue interspersed with glimpses of reality." By every standard, Fellini's " Otto e Mezzo," (8 1/2) is one of the best films made in the history of cinema. Appearing on every list of best films, it is usually ranked as third best after Citizen Kane and the Godfather 1 & 2. The New York Times' Bosley Crowther summed it up: "a movie endowed with the challenge of a fascinating intellectual game." Acclaimed by one and all, it eclipsed Fellini's previous international hit La Dolce Vita (1960). Marcello Mastroianni, whom Fellini often used to mirror himself in his films, stars as Guido Anselmi, aided by the likes of Anouk Aimee, Sandra Milo, and Claudia Cardinale. It is considered "the best European film ever made....Fellini's film is complete, simple, beautiful, honest, like the one Guido wants to make in 8 1/2. It was only a matter of time for this masterpiece to be imitated. Fellini's biographer Tullio Kezich listed some of the movies inspired by 8 1/2, Mickey One (Arthur Penn, (1965), Alex in Wonderland (Paul Mazursky, (1970), Day for Night (Francois Truffaut, 1974), All that Jazz (Bob Fosse, (1979), and Broadway's musical hit Nine (Maury Yeston and Arthur Kopit, 1982), revived again on Broadway in 2003. A movie based on the hit musical was only a matter of time. Guido Anselmi is back on the screen in an adaptation of the sensational musical that rocked Broadway for years, as did Fellini's film two decades before. The cast of the film alone is mind boggling. Dir. Rob Marshall ( Chicago, 2002) assembled an international cast of seven Oscar winners headed by the remarkable English actor Daniel Day-Lewis, Sophia Loren (Italy), Judy Dench (Gt Britain), Nicole Kidman (Australia), Penelope Cruz (Spain), Marion Cottillard (France), Kate Hudson (USA). Day-Lewis as usual astounds with the total reality of his performance. A masterful piece of casting inspired the withdrawn Day-Lewis to seek himself the part of Guido. Antonio Banderas who starred in the 2003 Broadway revival, and Javier Bardem, who was first slated to be the original film's lead must be green with envy. Day-Lewis, as is his custom, immersed himself totally in the role. He studied Italian and would frequently speak the language in and out of character. Ranked as #25 in Empire Magazine's top 100 movie stars of all time, he is unique in many ways. As most British actors, he is theatre trained at the Bristol Old Vic School, and appeared on stage with them as well as with the Royal Shakespeare Company. He made his film debut in Sunday Bloody Sunday (1971), but continued to appear on stage for over 10 years before he landed his first adult role, a bit part in Gandhi (1982). His first leading role was in Phillip Kaufmann's The Unbearable lightness of Being (1988), but it was his brilliant performance as Christy Brown in Jim Sheridan's My Left Foot which brought him international acclaim, numerous awards and the Oscar for Best Actor. Notorious for living his role on and off-screen, he would often talk in a New York accent in Martin Scorsese's Gangs of New York (2002), as well as sharpening his knives continuously as Billy the butcher. His interpretation in this film is ranked as # 53 in Premier Magazine's 100 greatest performances of all time. He chooses not to work frequently preferring a quiet life by his wife's side, Rebecca Miller, daughter of playwright Arthur Miller. He dedicated his SAG (Screen Actors Guild) Award for Nine to the late Heath Ledger who was one of his favourite actors. Therefore it is a joy and a privilege to see him every few years on the screen. On his precision acting he comments: "I have a highly developed capacity for self delusion, so it is no problem for me to believe I am somebody else." With such a leading man, such a stellar cast, heavenly music and singing, Fellini's ghost must be hovering overhead and nodding with approval at the resurrection of his creation. From film to Broadway to the screen again, Fellini's masterpiece about Fellini, has come full circle and shall remain the definitive classic autobiography of a brilliant provocative self-reflexive artist. Who would want to miss such a rare and enriching experience? Never meddle with play actors for they're a favoured race Miguel de Cervantes (1547-1616)
