9 Songs

When I saw Scorsese's "Last Waltz," I thought that I would never again see a concert film as true. And I haven't, until now.

The Band were the last popular musicians to tell stories, have nearly all those stories be in the third person and tell them without irony. To do this is impossible today, or at least non- commercial. Scorsese is a flawed filmmaker, his flaw being that he is overly invested in character-driven storytelling. The two: Band and Marty, were a perfect mix: cinematic rock. Pure, without that nightmare stew of MTV videos.

Now along comes Winterbottom. Nearly all viewers will be unable to accept a movie with sex in it as anything but a movie about sex. Shame on them. Confront it folks. That's his point: why is it so difficult to accept the difference?

But the hangups of the viewing public are less interesting to me than the way he constructed this experiment. It is a rock concert (with a Nyman interlude). Nine songs, with us participating in the songs themselves, participating in the going to the concerts to listen to the songs, and participating in the experience that the songs are about: namely obsessive sex. And also, remembering (or even inventing the memory of) the sex, drugs and rock and roll we've seen. This latter is done by our hero in Antarctica. He serves as narrator, by the way.

Thankfully, this intense sex avoids the theatrics of "Damage," and works to be as genuine as possible emotionally.

Is it a good movie? Could it change your life? Will it change cinema forever?

Probably yes.

Ted's Evaluation -- 3 of 3: Worth watching.

How does a modern man recall his last 'love' relationship? In this case, by the songs they shared together. The man in question is a glaciologist who's airborne research over Antarctica spurs a chronological series of memories broken up by nine LIVE concert segments. To sum up the simplistic plot line of the flashbacks, the two young lovers meet at a rock concert and then each major sex scene at their Islington flat is punctuated with brief concert segments (shot guerrilla-style with the couple in attendance).

Director Michael Winterbottom ("24 Hour Party People") has actually done Hollywood (and Planned Parenthood) a service by taking out the 'fake' lovemaking scenes audiences have grown accustomed to and replaced them with REAL sex, actual condoms IN USE, and a female (or male) orgasm that hasn't been staged for dramatic effect.

Seriously, the porn industry should take note if this film has any commercial success in the USA, because for my money I'd rather have my human sexuality nicely photographed, lit well, and true-to-life than filled with emotionally forced bad acting, flat lighting, and fake orgasms (with even faker breasts). Name one porn movie with fantastic helicopter shots of Antarctica's icy surface with a science lesson tossed in too. Nada.

Best of all are the honest, first-rate acting performances from both Brit acting veteran Kieran O'Brian ("24 Hour Party People") as 'Matt', the very lucky older guy (age 31), and 'Lisa' (Margo Stilley), the young American waif, who gets picked up at a rock concert one night at London's Brixton Academy.

In England, where this film has already been released there was quite a brouhaha as first-time movie actress Margo Stilley (age 21) supposedly tried to have her name removed from the credits. Luckily, the scathing reviews by the British press have worn off and the film is being released in the USA with Margo credited and NO NC-17 rating.

Although a first-time principle actress, Margo's performance is noteworthy in that her improvised dialogue not only rings true but it speaks to the neuroses of many young 'wild' females way beyond the Paris Hilton experience. She even creates a little comic relief when confronting her 'boyness' in the bathroom mirror.

In retrospect, I don't think this film has the artistic merit of last year's ode to eroticism (Bertolucci's "The Dreamers"), but director Michael Winterbottom does make a compelling argument for taking sex scenes to their natural conclusion. Adult audiences are gravitating more and more to NC-17 rated movies (re: "The Brown Bunny," etc.) and it may be time for local cinemas (and Hollywood) to grow up. Hey, if Angelina Jolie and Brad Pitt really are lovers then why couldn't they have 'condom sex' on screen for a change, and how much more of an impact would that have on college-age adults practicing 'unsafe' sex than thousands of hours of PSA's and sex-ed classes! Even if sex on the big screen isn't your thing, this film is so pure in its intentions it's practically a 'date movie' (except blind dates). Even the ladies will enjoy the sensitive approach to the material as the sexual exploits build from cunnilingus to some mild S&M, eventually progressing to the de rigeur 'cum shot'. As I said, it's an ADULTS ONLY experience, but one that might rekindle the sexual romance in your own relationships and give you a forum to converse with your partner about a sensitive subject (in America anyway).

I came to this Michael Winterbottom film from one of his previous efforts starring Samantha Morton and Tim Robbins. I had never heard of him as a director and when Sight and Sound (the house magazine of the BFI) did an article on him I thought he was worthy of attention.

Another reason for seeing this film was the promise of being able to watch a couple having actual sex and no merely faked orgasms and suggested oral sex either and no pornography. I quite wanted to be reminded of the reasons why two people can get together because of what they have in common.

Winterbottom's film is not pornography at all. It is merely a study of a relationship seen through the context of real sex (what nearly all of us have experienced once we are a certain age (18+ usually) and are not bound by religious considerations ie the Catholic priesthood) and popular music. That's all. And the cast are two everyday folk. They are not artificially enhanced porn actors or glossed up dolls for the benefit of the viewer. It is a very much warts and all film, although I have much admiration for Winterbottom to persuade any actor to show the camera (and thus the audience) his real erection and later orgasm.

Once the novelty of watching real adult sex wears off, however, there is little else left and that's the real disappointment of this film. Nevertheless it is an adult movie and some may enjoy it.

Saw this 16-09-2004 at the TIFF... While I am an admitted fan of mainstream films that feature explicit sexuality, I was disappointed in this film -- as it stands now. I say "as it stands now" because, although I may be wrong, the film has the feel of an unfinished work. Clocking in at a mere hour and five minutes, however, it still manages to feel long somehow -- essentially, we are watching either one of four types of scene: The lead actor reminiscing about the now-ended affair (from his walking trip of... Antarctica!), the couple attending concerts (always, apparently, at the same venue), the couple cooking and eating, or the couple having sex. There is relatively little dialog. The film feels fragmentary, as the scenes tend to repeat without much of a contextual base; perhaps these scenes are intended to represent the lead characters' memories, implying that we only remember those things that were most important to us from a relationship. The actors are game in their roles, although Ms. Stilley -- who has the long-limbed, small-chested appearance of a runway model -- comes off a bit weaker next to Mr. O'Brien (indeed, this appears to be her first film). I give both actors a lot of credit for baring themselves so unabashedly to the material, but am a bit disappointed that, even though Ms. Stilley has supposedly been offered another role in Mr. Winterbottom's next film, she is said to be "distancing herself" from this picture, apparently especially after her mother in North Carolina was alerted to its graphic nature.

In 'the most sexually explicit film in the history of British cinema', as the hype reads, Lisa (Margo Stilley) and Matt (Kieran O'Brien) spend their free time snorting coke, looking rather bored at rock gigs, and boning each other.

Needless to say, there are plenty of moments of graphic nookie between stars Stilley (a little too young and inexperienced to be taking on such a daring film role, maybe) and O'Brien (who, judging by his DVD commentary, seems to have had a whale of a time), lots of rough and ready music footage shot at various London gigs, and some pretentious bilge about life in the Antarctic, all accompanied by a monotonous voice-over.

Is 9 Songs a bona fide work of art, voyeuristic porn masquerading as art, a realistic study of an intimate relationship, an exploitative piece of trash, or a risqué promo for up and coming rock bands? I have no idea: it really is very hard to fathom out what Winterbottom and Co.'s intentions were for making this film, although I'm guessing the real answer is, 'it's whatever you want it to be'.

Viewers will watch 9 Songs for their own personal reasons (to become aroused; for intellectual discussion at dinner parties; as ammunition for attacking liberal types; or just to see what the fuss is about) and enjoy it accordingly. I thought it passed 66 minutes quite painlessly—the action was hot and the music was cool—but for me, perhaps the most interesting thing about 9 Songs is seeing how the film will affect the stars' careers in the long term, and guessing where this whole 'real sex in cinema' trend will end (Brad and Angelina going at it on Screen 1 at the local multiplex?!?!).