Review: ‘The Ninth Gate’ an Alluring Occult Tale with Intriguing Performances by Frank Langella and Johnny Depp

“The Ninth Gate” is a perplexing yet interesting entry into the horror genre. It features the directing of Roman Polanski, who has helmed horror/thriller pieces before (“The Fearless Vampire Killers,” 1967, “Rosemary’s Baby,” 1968), but is better known for more expositional masterpieces such as 2002’s “The Pianist.” It also features Johnny Depp, but a youthful one, well before the habit-forming mannerisms of Captain Jack Sparrow (“Pirates of the Caribbean”) or Rauol Duke (“Fear and Loathing in Las Vegas”). It’s an unlikely combination, and only film auteurs will likely notice lesser-known actors that make up the rest of its cast. But underneath it all it chooses the most likely antagonist, the Devil, but almost in an allegorical way—it’s protagonists are often antagonists within themselves, throwing caution to the wind in the search for the Prince of Darkness.

Depp plays Dean Corso, a rare-book dealer with questionable morals. At the beginning of the film he is seen bamboozling a full-volume set of “Don Quixote” from the unsuspecting family of a stroke victim for a pittance of what it’s worth. However, his unscrupulous nature isn’t a thorn in everyone’s side—specifically Boris Balkan (Frank Langella) who hires Corso for a shady purpose of his own. You see, Balkan, a bibliophile, owns one of only three copies of Aristide Torchia’s infamous “The Nine Gates to the Kingdom of Shadows”—a book purported to be co-written by Lucifer himself that has the power to summon the devil—and wants Corso to travel to Europe, examine the other two, and verify the authenticity of his copy.

The first half of “The Ninth Gate” certainly has many creepy elements in it, especially in the character of Boris Balkan. Langella does a marvelous job in bringing his eccentricities and nuances to life. For instance, he talks to Corso in one scene about the history of the “Nine Gates,” which was based off a book called the “Delomelanicon,” supposedly written by Satan. “The Nine Gates,” he claims, is reputed to conjure up Satan with the use of all nine engravings and, as he eerily puts it, “sufficient inside information.”

The movie also presents an interesting enough drama for Corso to uncover. He quickly realizes that things are not as Balkan claims as he begins to discover discrepancies between the illustrations in Balkan’s copy and the other two: the Fargas copy, located in Portugal, and the Kessler copy, in Paris. He also begins to suspect that something foul may be afoot in regards to all things “Nine Gates:” he is being followed by a shadowed man who accosts him in both cities, as well as garnering the protection of a mysterious woman, (played by Emmanuelle Seigner, “The Diving Bell and the Butterfly.”)

He attempts to give the book back to Balkan, his mission unfinished, but Balkan will hear none of it. “Finish the job and I’ll add another zero to your fee,” he entices. And, as we’ve already seen, Corso is not a man driven by integrity, but by dollar signs. His cooperation is complicit.

What makes “The Ninth Gate” an effective thriller is, unfortunately, the same thing that makes it an ineffective one: it’s pacing. With a rather powerful opening, featuring mystery, intrigue, and, yes, even murder, the film garners our attention. However, most of the film is extremely slow-paced, which may irritate less patient viewers. Corso’s research, and understanding of “The Nine Gates” requires frequently wading through increasing levels of jargon as the movie attempts to explain the history of its creation, and the secrets it beholds. (“The Ninth Gate” was actually based on a novel, “El Club Dumas” by author Arturo Perez-Reverte, which may explain the movie’s over- attention to detail).

However, intrigue is built in other ways. “The Ninth Gate” is built on symbolism, and uses this trick effectively in building a creepy, offbeat atmosphere. Note, for instance, that when we discover one murder in the film, the victim is arranged in the exact position suggested in Torchia’s book. Additionally, there is one scene, as Corso heads to the airport but stops to call Balkan, that is almost too quick to perceive, unless you’re paying close attention: when Corso looks out the phone booth at the cab driver, he appears ensconced in shadows, and, I must admit, resembles Satan quite a bit.  Whether this was purposeful on the part of Polanski remains a mystery. The effect it creates, however, is quite effective.

In the end, however, a movie is only as impressive as its performances, and luckily “The Ninth Gate” offers up decent acting from a number of players. Depp does a fairly good job at playing Corso, a man driven by money but seemingly little else. Emmanuelle Seigner, his “guardian angel” is is fairly capable, but is more or less a flat character, as her involvement is mostly shrouded in mystery and is not really explained. The villainous Mrs. Talfer (Lena Olin), again isn’t all that remarkable; her aim, and motives, seem unclear and, when discovered, are not really all that interesting.

However, a good chunk of the film is saved, luckily, by Frank Langella, who plays Balkan with what appears to be a great deal of deftness and, honestly, fun. He makes Balkan both an intriguing character and a sinister one: after all, you can’t expect a man who hopes to raise the Devil from the depths of Hell to be ‘Man of the Year.’ Langella, who played Louis Zabel in a very understated role in “Wall Street: Money Never Sleeps,” luckily was given free reign here to pull us in. He does just that.

Is “The Ninth Gate” an okay movie? Yes. Is it great? Well, that depends on your forte, I suppose. The film does offer both intrigue and suspense, which may be enough for some people. It’s another in the ilk of world travel/mystery epics, and in that way almost has a feel like spy films such as “The Bourne Identity” or “Taken.” The film is slow and purposeful. You may like it or you may not. There are a number of questions it presents: is there a Heaven, is there a Hell? Is someone really trying to kill Corso or is it all just in his head. And lastly, will Boris Balkan, misguided or not, actually get a chance to raise the Devil?

You might as well watch the film and find out. It’s not “The Pianist,” but, given the ubiquity of weaker films on the subject (such as Schwarzenegger’s “End of Days” and Keanu Reeve’s “The Devil’s Advocate”), “The Ninth Gate,” with its sinister personality and alluring style, is probably just as good bet as any.