by Anthony O'Connor
Worth: Discs: 3, The Film: 3.5/5, The Extras: 4/5, Overall: 7.5/10
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Johnny Depp, Frank Langella, Lena Olin, Emmanuelle Seigner, Barbara Jefford, Jack Taylor, James Russo
Intro:
… the best way to see this undervalued gem of the late ‘90s.
The Film:
There’s something about watching the lesser works of a master filmmaker that can be instructive and illuminating; checking out a total maestro when they’re just a little bit off their game or past their prime. It’s not always an enjoyable experience, mind you. Sitting through Disclosure Day probably won’t fill you with a warm glow, and recent entries from the likes of Tim Burton and Robert Zemeckis haven’t been a great time. In the case of Roman Polanski, however, and his 1999 film The Ninth Gate, there’s something oddly compelling about revisiting this mostly ignored flick, and once you get past the fact that it’s not Rosemary’s Baby or Chinatown, there’s a lot of enjoyment to be gleaned from this quirky occult thriller.
The Ninth Gate is the story of Dean Corso (Johnny Depp), an unscrupulous rare book dealer who is always hustling to find elusive tomes to buy for less than they’re worth and sell for much, much more. Corso believes in two things: himself and money, and the latter is the only one he actually respects. It’s for this reason that when he’s approached by the very creepy Boris Balkan (Frank Langella) to verify the authenticity of his copy of The Nine Gates of the Kingdom of Shadows – a 17th Century publication that allegedly has the power to summon the devil himself – Corso only has one question: “How much are youse paying?” However, as our morally bankrupt hero investigates, he begins to see things, experience strange events and before long, the bodies start to pile up, people killed in bizarre and unlikely ways. Could it be that Corso has finally found something to believe in? And what exactly does it want with him?
Although the advertising materials at the time of release were all of the “Polanski’s back and he’s doing the devil again!” variety, The Ninth Gate has very little in common with Rosemary’s Baby. That film, one of the greats, was based on a sly, creepy book from Ira Levin and possessed a subversive subtext that was more about how belief changes people than being a straightforward spookshow. The Ninth Gate, on the other hand, is more of an old fashioned investigative yarn, with a few supernatural moments woven into the mix. It’s a classically shot, almost procedural narrative, involving lots of globe-trotting, earnest discussions in beautiful locations and Johnny Deep frowning at vintage texts. Despite coming out 31 years after Rosemary’s Baby, it feels far less modern than that Mia Farrow starrer. In fact, the film is almost a quiet horror, that is much more intriguing and compelling than it is scary or unsettling. It’s a slow burn, oddly comforting, chilled out experience with occasional creepy moments, but generally flows like an artifact of a different time.
Performances are uniformly great, with Johnny Depp an agreeable screen presence, even if his character is a bit of a cypher. Frank Langella is creepy as hell, positively dripping with menace, and Lena Olin does fantastic work as Liana Telfer, the widow of a previous owner of the devilish book. Emmanuelle Seigner also does fine work as Green Eyes, a mysterious woman whose interest in Corso doesn’t become entirely clear until the film’s slightly-too-abrupt conclusion.
In terms of direction, Polanski knows his stuff and imbues every frame with texture and style, elevating the moderately entertaining script to something far more interesting. There are numerous clever shots, like the one where Corso is in a cafe staring at a man who has been following him when suddenly the indoor lights go on and he’s left blinking at his own reflection, his shadow suddenly gone. There’s a quiet, menacing intimacy to so many moments and it really works.
On the downside, the script does waffle on a little. This is a 100-minute story wearing a 133-minute fat suit, and while the virtual tourism is certainly pleasant, you may find yourself checking the runtime. Also, the ending, while clever, probably needed another minute or so to really sell the concept, as it’s very blink and you’ll miss it.
Still and all, this is a solid film from a master of the artform and a wonderfully old fashioned supernatural mystery yarn with genuinely striking moments. It also looks absolutely superb with the brand new 4K print really emphasising the painterly quality of the image and the luxurious tones it possesses.
The Extras:
A pretty solid collection of special features of the damned here. There’s an audio commentary from Roman Polanski, an archival Making of doco that tries to make the film sound much scarier than it is to unintentionally hilarious results and the usual collection of trailers and teasers.
There’s a Satanic Drawings gallery of relevant art, Unlocking ‘The Ninth Gate’ – interview with cinematographer Darius Khondji, The Devil Is a Woman: Female Representation of Satan in Cinema – video essay by film critic Sally Christie, Lucifer’s Version – slideshow of illustrations from the novel El Club Dumas with commentary by Dr. David Huckvale and Encyclopaedia Satanica – interview feature with writer Gary Lachman, author + historian Mitch Horowitz, and occult historian + collector Brandon Hodge.
Best of the lot are the two actor interviews – recently shot in 2024. You’ve got A Page-Turning Perfectionism – an interview with actor James Russo where he reveals it was essentially his real life friendship with Depp that got him the role, and Dancing with the Devil – an interview with actress Emmanuelle Seigner where she talks about getting the role at the last minute and having to act mere weeks after giving birth (to Roman Polanski’s child – did we say Rosemary’s Baby?)! What a trooper.
The whole package comes in an attractive hardbox bundled with a 60-page hardcover booklet. For a relatively forgotten film, it’s nice to have such an abundant set of special features and extras.
The Verdict:
The Ninth Gate isn’t a great film, and it’s certainly not one of Polanski’s best. However, there’s something about it, something strangely compelling that keeps you engaged with a persistent sense of discovery and a feeling of intrigue.
Available now in a genuinely gorgeous 4K, this is the best way to see this undervalued gem of the late ‘90s. Perhaps pick it up and judge its authenticity for yourself. Just beware of mysterious green eyed women…
