Out of print for more than 30 years, now available for the first time as
an eBook, this is the controversial story of John Wooden's first 25
years and first 8 NCAA Championships as UCLA Head Basketball Coach.
Notre Dame Coach Digger Phelps said, "I used this book as an inspiration
for the biggest win of my career when we ended UCLA's all-time 88-game
winning streak in 1974."
more than 40 hours of interviews with Coach Wooden, learn about the man behind the coach.
Click the Book to read
the players telling their stories in their own words. This is the book
that UCLA Athletic Director J.D. Morgan tried to ban.
Click the book to read the first chapter and for
by Tony Medley
Run time 118 minutes.
Not for children.
There aren’t enough words in the English
language to do justice to telling how much I loathed Tony Award winning
Broadway musical “Nine.” It was the worst Broadway musical I have ever
seen, and I’ve seen most of them. This movie proves that even if you
have an award-winning director, Rob Marshall, and an A-list cast (well,
at least by “The New Yorker” standards, not mine), if you start out with
a sow’s ear, what you are going to end up with is a sow’s ear.
This movie is awful. The music (Maury Yeston)
lacks melody of the quality one would expect from a Tony®-winning
musical, the acting is mediocre, the dancing as fraudulent as the
dancing in Marshall’s last musical, “Chicago,” and the story virtually
What does Rob Marshall have against musical
talent? He cast “Chicago”
with actors who couldn’t sing or dance a lick and made it look like they
could with legerdemain. Marshall creates what looks like music with
quick cuts from non-musicians faking it; most actors can sing one or two
bars and hit all the notes, given enough takes, as Joaquin Phoenix
proved in “Walk the line” (2004). Alas, this magic doesn’t work here.
The difference is that “Chicago”
had a terrific book and score, two things that “Nine” lacks. In fact,
“Nine” lacks everything needed for entertainment.
he substituted quick cuts for dancing. He repeats that tactic here, but,
because the music in “Nine” is so unmemorable (in “Chicago”
it was spectacular), he substitutes loudness for music. Even though the
songs lack melody and charm,
Marshall disguises their lack of
quality by having the singers yell the lyrics loudly and dramatically.
Alas, an atomic bomb couldn’t hide how bad this music is.
While it’s nice to see Sophia Loren again, in
some scenes she looks beautiful and in others she looks more than her
age, almost as if she had a face lift midway through shooting.
Every second that unshaven Daniel-Day-Lewis,
who plays the lead, Guido Contini, is on the screen he virtually screams
that he is acting, that he’s an Englishman pretending to be Italian. He
won an Academy Award for his last histrionic performance in “There Will
Be Blood” (2007). Couldn’t
Marshall have found an Italian
to play an Italian? At least the accent would have been authentic.
The women recruited by Marshall, Nicole
Kidman, Marion Cotillard, Penélope Cruz, Kate Hudson, Sophia Loren, and
Judi Dench, have one thing in common, they can’t sing or dance well
enough to be in a professional production. And only one is Italian. But
some of them are beautiful. The only true singer in Marshall’s group, Fergie,
is a professional with the Black Eyed Peas.
“Nine” is a remake of “8-1/2” Frederico
Fellini’s highly-awarded 1963 film about a movie director with writer’s
block and the women in his life. Yeston, in converting the movie into a
musical, figured that adding the extra element of music-and-dance to
Fellini’s vision of a man’s mid-life battles with women, lust, spiritual
yearning, and creative fulfillment, it would add up to nine.
This film flits back and forth from fantasy,
Guido flashing back to his prior life, to reality. If the play was
boring, the film is worse.
This film, however, has one of the best
trailers ever made. It convinced me that I wanted to see it, even though
I knew from having seen the play that the music is dreadful. I’m here to
warn you not to be misled by the movie’s outstanding promotion.