For a while it looks like Roman Polanski's The Ninth Gate, adapted from the novel The Club Dumas by Arturo Pérez-Reverte, might recapture the beautiful uneasiness of such masterpieces as Repulsion and Rosemary's Baby. The horror of a Roman Polanski picture is not about spectacle and shock but a goose-pimply sense of evil lurking just outside the frame and hidden behind the faces of slightly unsettling characters. Here, a calm, almost sleepy Johnny Depp plays cynical, unscrupulous rare-book hunter Dean Corso, who's hired by demonologist Boris Balkan (Frank Langella) to authenticate a rare volume that, legend has it, was co-written by Lucifer himself. Dean leaves a Gothic looking New York (re-created in Europe by Polanski as a sinister city of shadows) for Portugal and Paris to compare Balkan's volume with the two copies known to be in existence and uncovers a mystery with unholy ramifications. He also finds himself at the centre of a conspiracy that involves Balkan, a widow who will stop at nothing to retrieve Balkan's book (Lena Olin, who gleefully bites and claws her way through the part), and a mysterious guardian "angel" (Polanski's wife, Emmanuelle Seigner) who shadows his every step. The Ninth Gate is full of rumbling menace and deliciously unsettling imagery, but Polanski's languorous direction and purposefully vague story render a film that's eerie without every becoming thrilling. It's perpetually on the verge of becoming interesting--right up to its obscure final image.-Sean Axmaker, Amazon.comOn the DVD: Roman Polanski provides us with his first ever DVD commentary here, and makes his eye for detail and atmosphere very apparent in talking about design and his use of the camera. He also announces his love for the quality of DVD since he's always hated VHS. You also see him briefly amongst other interviewees in a two-minute featurette. There's also a trailer, 10 pages of production notes, and generous cast and crew information. One novelty is a gallery of The Nine Gates books' spot-the-difference satanic drawings. Best of all is an isolated track of Wojciech Kilar's excellent score, which is as well preserved by this transfer as the rich palette of earthy browns used by Polanski to paint the screen. --Paul Tonks
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