"Nine Lives" (2005) - Movie Review

When the “Nine Lives” started on with a title “Sandra” with a decorative background, I thought that why is it taking it segment by segment is becoming a trend? I am never against any trend but something emerged in my mind. Then I said that anything done right is good and that is all it matters. Shedding my preconceived notions about this style of movie making, I started watching. And it justified the style of movie making. Not only they made it nine segments with each centering around one female, but also every segment is taken in one shot. Not that it means something but they had it as their own challenge I guess. It gives a continuous flow of actions in a poetic way.

As that of the “11'09''01 - September 11” having 11 segments, this has nine. The difference is though that all the segments are directed by same director, Rodrigo Garcia. There are certain people running in couple of segments. It helps in associating with some of the small talks they refer to those and how it connects each of them. And some help you understand the short time of events a better with earlier segments with the characters. While each segment concentrates on the women, the counterparts as opposite sex in couple of pieces make a strong presence too. “Sandra” centers around a woman locked up in LA County Jail. In her morning cleaning the floor, her survival and the urge to make it good in a prison world is seen. The calmness and the whole thing working with the system to come out of it, is tested when her only small time she gets to talk with her daughter is damaged. Elpidia Carilla as Sandra is good in breaking into her inner self of emotions is affective. This forms a nice start because at the end of it we get the style the movie is taking us through. It is going to center around a female character with one continuous shot. And most importantly, it does not conclude or to say a proper traditional conclusion anyone might expect.

The second segment is one of the master pieces in this showcase of emotions about nine people. The rush one might get when they see their lost love. The anxiety on whether they are happy and what their prospects are without them is immeasurable. The control it takes over and the resultant is going to be painful either way. If they are happy, they feel bad about themselves due to loss of opportunity to be in that happiness. If they are sad they weep inside for them. May be they could have made a better life together. Diana (Robin Wright Penn) meets accidentally Damian (Jason Isaacs) who we learn by their body language initially as been involved with each other a long time ago. They tangle on usual greetings and gets a brief history of their lives with each of them not being there with each other. Then the curiosity and control takes over. They both battle to hide and express their feeling for each other. We do not want them hit it off but at the same time what if this is their second chance? Nothing can be concluded but those control and anxiety is frozen. It flows and discovers territories beyond the natural system of structure the society forms over every one. For instances they free themselves into the hands of those temptations of sharing the connections once they had, intensely.

This is what the film takes it to its advantage. With short period of time and unknown characters, they make an emotion striking. I like short films. It does not beat around the bush and some times use the time very poetically. The attempt is not new as said earlier. The luxury of this type is to have a minuscule sequence and throw the light on subtle emotions. The downfall is the dry take scenes the conventional movie takes which it cannot have. Introducing a character and a situation generally does not take as a sequence. The short film takes it as it goes. They work on a dead line which is thinner and tighter. Another draw back in this is the chance of not loosening up. The expectation is all the segments are at high points. This is like expecting each and every scene of the film being impressive and touching. It can be suicidal. This is not. It cannot be said that making a straight forward conventional movie is easier than this because everything has its advantages and pit falls. Using those to the right aspect forms a good film. This does.

The film ends with an unexpected sad piece. Or it cannot be said a sad but something depressing yet looking forward with the past moments. Is it good to live in memories? Not always but in this nearly 15 minutes segment, it does. The loss, guilt, regret, anxiety, decision, patience and mercy are all addressed in segment of each.

I do not see any blatant connection with all the nine segments as per the content. It is about women and their hidden and open feelings. This is a review which needs to do justice to the performances. Every one and I mean every character have something to offer in a very strong manner. The development of each character is felt in all the segments. In the segment “Ruth” (Sissy Spacek) they have Henry (Aidan Quinn), the affair she is hesitant to take as a person. The film could have portrayed him with some negative values or say a character to be missed upon by her. They mould his personality so well and absorbing. He feels the right person for Ruth. That marks the enormity and the content and character importance it paved. All the segments carry performances of reality with tightened emotions bud their head out for the haunting piano background which makes us cry, laugh, mourn, irritate and dream for those nine lives.