9
May 10th 2010 23:31
I didn’t get around to reviewing this during its theatrical release, but 9 (2009) looks mighty fine on DVD on the big-small screen (and I’m sure simply stunning on Blu-ray). The feature expansion from director Shane Acker’s Oscar-nominated short film of the same name from 1995 is described as “stitchpunk” a play on the sf sub-genre of “steampunk”, which in itself is a hybrid of futuristic cyberpunk and Victorian industrial revolution elements. In 9 the main characters are miniature dolls that have been stitched together with needle and thread and zippers banding together in a post-apocalyptic world where the automated war machines have rendered humans extinct.
It’s the production design and atmosphere of 9 that stands head and shoulders above the rest of the movie. The narrative and the characterisation are fairly pedestrian, which is a shame because the premise and the cast who provide the voices are strong. The short, however, is a more powerful film for not providing voices, simply because the oneiric, nightmarish quality is enhanced tenfold with only sound, music, and image. It’s notable that the first ten minutes of the feature is without dialogue.
The basic plot has a doll named 9 (Elijah Wood) - the name is scrawled on his back - awaken to find the Scientist creator dead and the outside world a wasteland of ruined buildings and the shells of cars. He takes a strange metallic badge-like object with him. A huge metal skeletal beast attacks him, but he’s saved by another of his kind, 2 (Martin Landau), a fearless senior who subsequently fixes 9’s voice. 2 brings 9 to meet a hidden posse lead by the elder, 1 (Christopher Plummer), his minder, 8 (Fred Tatascoire), the kind-hearted 5 (John C. Reilly), the visionary recluse, 6 (Crispin Glover) and the voiceless twins, 3 and 4. Later the warrior 7 (Jennifer Connelly) enters the picture.
When 2 is captured by the monstrous beast-machine 9 convinces the others on a rescue mission, but later inadvertently re-activates, with his badge-like key, a lethal super-beast-machine called Brain, who is hell-bent on destroying them all. Never mind the fate of humankind, the important thing here is for these plucky little stitch creatures to outwit the Brain and its metal killer “dog” before the machines have wiped out all humanity, including animated dolls with human souls!
The holocaust, or more specifically Hitler, is an obvious influence - almost directly – with the Chancellor referred to by the Scientist (Allen Oppenheimer, the cousin of the man who fathered the atomic bomb) in archival footage baring a striking similarity to the Führer, while his salute, his officers and the flag all resemble Nazi SS designs. The ghoulish beastly machinery reminded of Survival Research Laboratories and their extraordinary automated robots and industrial-engineered vehicles of aggression, in particular a brilliant short film they made called A Bitter Message of Hopeless Grief (1988), where two robot-animal machines battle it out in a cavern below the surface of the earth, occasionally stopping to re-fuel from a well of oil. That was a very dark and curious little film, and 9 reflects a similar enigmatic, neo-Gothic, post-modernist, retro-fitted vibe.
There are many great scenes within 9, especially the battle sequences, and the movie is accompanied by an excellent score from Deborah Lurie (and co-composed by Danny Elfman). It makes sense the movie is then co-produced by Tim Burton, and by Russian sf-horror-action director Timor Bekmambetov, who made the Day Watch/Night Watch movies, as well as the Angelina Jolie-vehicle and Hollywood high-earner Wanted. There are definitely visual flavours and thematic elements of both these phantasists within the fabric and framework of 9. It’s a pity that Pamela Pettler’s screenplay suffers from predictable plot points and turns.
Like Mary and Max (2009), 9 is an animated movie geared more for mature kids (is there such a bracket?) and adults, than the younger set, as there is an overall vibe of menace and dread that permeates the movie, just as Mary and Max deals frankly with adult themes. Whereas Mary and Max is claymation, 9 is entirely digital animation. While stop-motion animation still holds allure for filmmakers (who possess a lot of patience!), no doubt as digital software becomes more and more sophisticated traditional 2D cell animation will soon be a technique of the past.
Here’s the trailer:
Here’s the original ten-minute short film:
9 DVD (with many extras including the original short) is courtesy of Madman Entertainment, many thanks!
It’s the production design and atmosphere of 9 that stands head and shoulders above the rest of the movie. The narrative and the characterisation are fairly pedestrian, which is a shame because the premise and the cast who provide the voices are strong. The short, however, is a more powerful film for not providing voices, simply because the oneiric, nightmarish quality is enhanced tenfold with only sound, music, and image. It’s notable that the first ten minutes of the feature is without dialogue.
The basic plot has a doll named 9 (Elijah Wood) - the name is scrawled on his back - awaken to find the Scientist creator dead and the outside world a wasteland of ruined buildings and the shells of cars. He takes a strange metallic badge-like object with him. A huge metal skeletal beast attacks him, but he’s saved by another of his kind, 2 (Martin Landau), a fearless senior who subsequently fixes 9’s voice. 2 brings 9 to meet a hidden posse lead by the elder, 1 (Christopher Plummer), his minder, 8 (Fred Tatascoire), the kind-hearted 5 (John C. Reilly), the visionary recluse, 6 (Crispin Glover) and the voiceless twins, 3 and 4. Later the warrior 7 (Jennifer Connelly) enters the picture.
When 2 is captured by the monstrous beast-machine 9 convinces the others on a rescue mission, but later inadvertently re-activates, with his badge-like key, a lethal super-beast-machine called Brain, who is hell-bent on destroying them all. Never mind the fate of humankind, the important thing here is for these plucky little stitch creatures to outwit the Brain and its metal killer “dog” before the machines have wiped out all humanity, including animated dolls with human souls!
The holocaust, or more specifically Hitler, is an obvious influence - almost directly – with the Chancellor referred to by the Scientist (Allen Oppenheimer, the cousin of the man who fathered the atomic bomb) in archival footage baring a striking similarity to the Führer, while his salute, his officers and the flag all resemble Nazi SS designs. The ghoulish beastly machinery reminded of Survival Research Laboratories and their extraordinary automated robots and industrial-engineered vehicles of aggression, in particular a brilliant short film they made called A Bitter Message of Hopeless Grief (1988), where two robot-animal machines battle it out in a cavern below the surface of the earth, occasionally stopping to re-fuel from a well of oil. That was a very dark and curious little film, and 9 reflects a similar enigmatic, neo-Gothic, post-modernist, retro-fitted vibe.
There are many great scenes within 9, especially the battle sequences, and the movie is accompanied by an excellent score from Deborah Lurie (and co-composed by Danny Elfman). It makes sense the movie is then co-produced by Tim Burton, and by Russian sf-horror-action director Timor Bekmambetov, who made the Day Watch/Night Watch movies, as well as the Angelina Jolie-vehicle and Hollywood high-earner Wanted. There are definitely visual flavours and thematic elements of both these phantasists within the fabric and framework of 9. It’s a pity that Pamela Pettler’s screenplay suffers from predictable plot points and turns.
Like Mary and Max (2009), 9 is an animated movie geared more for mature kids (is there such a bracket?) and adults, than the younger set, as there is an overall vibe of menace and dread that permeates the movie, just as Mary and Max deals frankly with adult themes. Whereas Mary and Max is claymation, 9 is entirely digital animation. While stop-motion animation still holds allure for filmmakers (who possess a lot of patience!), no doubt as digital software becomes more and more sophisticated traditional 2D cell animation will soon be a technique of the past.
Here’s the trailer:
Here’s the original ten-minute short film:
9 DVD (with many extras including the original short) is courtesy of Madman Entertainment, many thanks!
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Comment by ShaunK
Screen Adventure
Read your review of Breaking The Waves and left my comment there - thanks for bringing it to my attention - I'm actually doing a whole series of reviews on Denmark films this week and next if your interested.
Comment by Bryn
Horrorphile
As for Danish movies, have you seen Festen? Pusher is also one of my fave Dane flicks, which for some reason I've never reviewed.
Comment by ShaunK
Screen Adventure
Of course I've seen Festen - you can expect a review for it soon as part of my Denmark fortnight of reviews
But I digress - this is about 9 - looks like Plummer's doing quite a few animated films at the moment. Thanks for including that short film as well.
Comment by Bryn
Horrorphile
Curious that you say you left a comment on my review of Breaking the Waves, cos I didn't get a notification.