Questão de Vida

Director Rodrigo Garcia is the son of the famous writer Gabriel Garcia Marquez. Brought up in a literary environment and choosing another medium of communication--the cinema--for himself, the son uses the tool of the father to chisel away at sculpting good cinema. Spoken words, characters, relationships play a major role in the finished product that a reader of Marquez would find easier to appreciate than others.

Ostensibly, the film is collection of 9 short stories or vignettes of 9 different women. In the first four, some characters appear in other episodes. The last five are connected by the word "connection". The last of the nine remains the most difficult and intriguing and an appropriate one to end the film.

The film captures each of the nine segments in a single shot without a cut. The film resembles various works of Robert Altman--even the long-shot of "The Player"--and the structure of "Magnolia" and "Crash." What "Nine Lives" has that the others do not is the Marquezian element of magical realism.

To explain this one has to begin at the final episode. "Nine lives" alludes to the cat. A cat is shown on a gravestone. A mother (old enough to be a grandmother) escorts a young girl (her daughter) to a grave and brings with her not flowers, but a bunch of grapes. She leaves the grapes behind on the grave. The final shot does not show the girl but the mother alone. Whose grave is it? Is the young girl real (or alive)? Did the mother bring grapes for a child who loved grapes, who is now merely a memory for an old woman? The stories are interconnected by relationships (mother-child) episode 1 and 9, parents and children (2 episodes of Holly and Samantha), husband and wife (Camille) and the trio of husband, wife and lover (Diana, Lorna and Ruth).

To savor the richness of the film, one has to go beyond each segment and look at the links the director provides to see the breaks in relationships and the ultimate reconciliation the full film provides. In the first episode, the viewer sees a break in the relationships. In the finale there is reconciliation even in death. In between, divorced couples consent to sex, a young teenager appears to be more sensible than her quarreling parents by giving up a chance for better education to keep the fragile family together, and another fighting couple remind you of Albee's George and Martha in "Who's Afraid of Virginia Woolf?" An abused daughter realizes she cannot kill her father. A faithful husband helps his wife get emotionally ready for a mastectomy.

If there is a flaw, you can point out that it looks at nine women rather than nine men. But then in literature, cats are associated with females rather than men, and the director was born to a family who appreciated literature.

There is little that is spoken in this film. But each word is important to understand and enjoy the film. It is a film that deserved the Locarno Film festival honors. Personally, I loved the performances of Glen Close, Robin Wright Penn, the lovely Amanda Seyfried, Elpida Carillo and Ian McShane. But the entire cast was great--like any Altman film. Garcia, unlike Altman, stresses on the spoken word, not merely the images and music.

I saw the film at the recently concluded Dubai Film Festival. Was it a coincidence that Marquez's friend and Chilean filmmaker of repute--Miguel Littin--was outside the cinema hall trying to get a feel of the reaction of the audience to film made by his friend's son without being noticed?

"Nine Lives" is a valentine to women as a life force (from pregnancy to abortion, and only incidentally about sex, to care-giving and death), and the superb actresses bask like flowers in the sun at the attention.

Writer/director Rodrigo García creates nine vignettes, each introduced by the central character's name like a chapter heading, as master acting classes. In about ten minutes, each actress, and occasionally their male supporters, go from zero to ten, less through the language, which is so natural it seems improvised, but through their faces, bodies and inflections.

Each woman faces an emotional crisis involving her relationship with a loved one -- parent, child, lover, husband, sister; sometimes the stories start them at a high point and they reach a catharsis, others are in the midst of a normal day and then get socked with interactions that rock their balance. Each tries to stay in control of their situations, with emotional prices to pay. About half the characters briefly cross-appear in stories that may come before their previous appearance, mostly to add ironic meanings to a situation or dialog that would have a different impact without the added information from the other vignette. A refrain of "I can't stop thinking about you" comes with different meanings about love and guilt or obsession each time, though this is more about connections between people (as symbolized by the webs behind the interstitial name cards).

The two hander with Robin Wright Penn and Jason Isaacs (with a very creditable American accent, though he seemed to be playing a very similar character as he did on "West Wing") packs a wallop, mostly through Penn's expressions and complete body language, from her eyelids to her fingers to her feet. A shopping walk through the long aisles of your neighborhood supermarket may never have quite the same expectations. Garcia's gliding camera work adds to the emotional freight as by widening and lengthening the frame he gradually reveals more information about the two characters.

Amy Brenneman paying respects at a funeral builds up in nervousness as we learn more about the complicated background of her relationship with the deceased, then goes for a crescendo in a brief, almost silently dynamic interaction with an explosive William Fichtner. This may be the first time that certain American Sign Language words have been used in a movie.

Lisa Gay Hamilton's character is so emotionally wrought that you get agitated just watching her, even as we cry over why she's so radioactive.

Kathy Baker facing surgery reveals more of the emotional complications for couples facing medical issues than a dozen Lifetime TV movies.

Garcia well shows women caught between strong people, particularly the vignettes with Amanda Seyfried and Holly Hunter, though the latter recalls "Who's Afraid of Virginia Woolf?" too much. Molly Parker creates warm chemistry with women as a friend in two stories. Dakota Fanning actually acts her age and seems like a natural child for a change in her vignette with Glenn Close.

I presume this was shot on digital video, judging by the saturated look of the beautiful cinematography. What will be lost by waiting to see the film on DVD will be the subtle details of the actresses' fulfilling performances that should be seen on a big screen.

Rodrigo Garcia's "Nine Lives" raises the question of just how emotionally invested a viewer can become in a character who appears on screen for no more than ten or a dozen minutes throughout the course of a movie. And what happens if ALL the main characters show up for that little a time? For this is the case with "Nine Lives," a compilation of vignettes about nine virtually unconnected ladies, each of whom is struggling with issues common to women in a modern world. Some are coping with messy relationships, others with regrets about past actions, still others with health issues and the looming possibility of death. Even though the stories abut slightly on one another from time to time, each exists essentially as a stand-alone sketch able to function without the others.

The main problem with a movie like "Nine Lives" is that, for all the insights it offers into life and human relationships (and they are many), it simply can't develop its characters to any appreciable extent in the time it has allotted them. Just as we are becoming engaged by a particular woman and her situation, the movie shuts us down by cutting away to the next segment. This is really no criticism of the movie per se - which is a well written, well acted and well directed piece of lyrical film-making - but the structure dilutes our interest and robs the film of the cumulative force it might have had were the individual stories fleshed out to feature length.

Still, given the limitations, this is a film filled with flavorful moments and fine performances from a large and gifted cast that includes Sissy Spacek, Mary Kay Place, Glenn Close, Dakota Fanning, Holly Hunter, Lisa Gay Hamilton, Robin Wright Penn, Joe Mantegna and Aiden Quinn, among many others. And the final moments are so tender, poignant and touching that they carry the film to a level where it transcends artifice and makes a genuine human connection with its audience. Thus, despite the reservations one might have about the film as a whole, the parts are more than compelling enough to make it well worth watching.

I just saw the movie and right now it feels like one of my top all time favorites. As in up there with Discreet Charm of the Bourgeoisie and 400 Blows and La Dolce Vita. I don't know why ten fragments of stories should have that power. Maybe because the writing is genius? No pandering to conventional standards of entertainment, just a great author mining vein after vein of truth and freeing his brilliant actors to be intensely fearlessly human at every second. This is the movie that Crash wishes it was (and I thought Crash was awesome). No preaching. No "ideas." Just the human heart on display. Amazing that a woman lying in a hospital bed facing a mastectomy got the biggest laughs--because Kathy Baker, speaking Rodrigo Garcia's lines, so completely captured the frustration and helplessness that all of us have felt that all the audience could do was laugh in recognition. Go see this one.

I too saw this film at the Sundance Film Festival and was very, very happy with it. It's simply vignettes of nine women's lives (with intercepting characters and mutual acquaintances), the people in their lives and more importantly the relationships in their lives. They're sad and sometimes not so sad, examples of the walls we build around ourselves in our relationships and how we feel bound to people or stuck in situations that we can't escape. It's very well made, with each women's vignette composed of one long 10-12 minute scene (no cuts). The dialogue is completely natural as are the actor's portrayal's of their characters, and the characters seem so real-life, so believably everyday. I couldn't say which story I enjoyed the most, but Robin Wright Penn and Jason Isaac's scene and relationship was especially poignant for me and I thought, amazingly acted. Overall this movie is great and I would recommend it to anyone who is a student of human nature or just in need of a moving film.