The Ninth Gate (1999) Explained In Hindi | Fantasy

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The Ninth Gate is a 1999 neo-noir horror thriller film directed, produced, and co-written by Roman Polanski. An international co-production between the United States, Portugal, France, and Spain, the film is loosely based upon Arturo Pérez-Reverte’s 1993 novel The Club Dumas. The plot involves authenticating a rare and ancient book that purportedly contains a magical secret for summoning the Devil.
The premiere showing was at San Sebastián, Spain, on 25 August 1999, a month before the 47th San Sebastian International Film Festival. Though critically and commercially unsuccessful in North America, where reviewers compared it unfavorably with Polanski’s supernatural film Rosemary’s Baby (1968), The Ninth Gate earned a worldwide gross of $58.4 million against a $38 million budget.

Cast
Johnny Depp as Dean Corso
Lena Olin as Liana Telfer
Frank Langella as Boris Balkan
Emmanuelle Seigner as The Girl
James Russo as Bernie Ornstein
Jack Taylor as Victor Fargas
Allen Garfield as Witkin
Barbara Jefford as Baroness Kessler
Willy Holt as Andrew Telfer
José López Rodero as Pablo & Pedro Ceniza
Catherine Benguigui as The Concierge
Jacques Collard as Gruber
Jacques Dacqmine as Old Man

Box office
The premiere screening of The Ninth Gate was in San Sebastián, Spain, on 25 August 1999; in North America, it appeared in 1,586 cinemas during the 10 March 2000 weekend, earning a gross income of $6.6 million, and $18.6 million in total. Worldwide, it earned $58.4 million against a $38 million production budget. In May 22, 2007 an extended version was released with a runtime of 2 hours and 13 minutes.

Critical response
On Rotten Tomatoes the film has an approval rating of 44% based on reviews from 91 critics, with an average rating of 5/10. The consensus reads, “Even though the film is stylish and atmospheric, critics say The Ninth Gate meanders aimlessly and is often ludicrous. And despite the advertising, there’s hardly any chills.” On Metacritic it has a score of 44 out of 100 based on reviews from 30 critics, indicating “mixed or average reviews”. Audiences surveyed by CinemaScore gave the film a grade D− on scale of A to F.
Roger Ebert said the ending was lackluster, “while at the end, I didn’t yearn for spectacular special effects, I did wish for spectacular information — something awesome, not just a fade-to-white”.[18] In his review for The New York Times, Elvis Mitchell said the movie was “about as scary as a sock-puppet re-enactment of The Blair Witch Project, and not nearly as funny”. Entertainment Weekly rated the film “D+”, and Lisa Schwarzbaum said it had an “aroma of middle-brow, art-house Euro-rot, a whiff of decay and hauteur in a film not even a star as foxed, and foxy, as Johnny Depp, himself, could save”. In the Los Angeles Times, Kenneth Turan said the film was “too laid-back, and unconcerned about the pacing of its story to be satisfying”, because “a thriller that’s not high-powered, is an intriguing concept, in reality it can hold our attention for only so long”. In the Village Voice, J. Hoberman said the film was “barely releasable hokum, stuffed with cheesy blah-blah”. European reviews were generally more attentive and praised the film’s pace and irony.
In Sight and Sound magazine, Phillip Strick said it was “not particularly liked at first outing — partly because Johnny Depp, in fake grey temples, personifies the odious Corso of the book a little too accurately — the film is intricately well-made, deserves a second chance, despite its disintegrations, and, in time, will undoubtedly acquire its own coven of heretical fans”.
In Time magazine, Richard Corliss said that The Ninth Gate was Polanski’s most accessible effort “since fleeing the U.S. soon after Chinatown”.
In the San Francisco Chronicle, Bob Graham said that “Depp is the best reason to see Polanski’s satanic thriller” and “Polanski’s sly sense of film-noir conventions pokes fun at the genre, while, at the same time, honoring it”.
After the release of The Ninth Gate, Artisan sued Polanski for taking more than $1 million from the budget, refunds of France’s value-added tax that he did not give to the completion bond company guaranteeing Artisan Entertainment a completed film.

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