INTRODUCTION
I recently had the opportunity to see “The Nines”, a movie starring Ryan Reynolds, Hope Davis and Melissa McCarthy. I love this; It wasn’t your usual Hollywood fare, but it wasn’t as arty or elaborate as the standard alien movie Let the crowd go. Obviously, no movie is perfect for drawing a review, and because of this I noticed that a number of other critics have given the movie a thumbs up. What struck me in general about the other reviews was that the film was invariably described as unnecessary, confusing, ambitious, and the like.
After reading some of these reviews, I was wondering if the reviewers were particularly focused on the film’s plot. Normally this is to be expected, but “Nine”, as I feel, is a film that is best explored through its thematic through-line, rather than what happens physically on the screen. This inspired the analysis you are reading now. I have to believe that exploring the story of “The Nines” through the plot itself will only serve to confuse the viewer. Stepping outside the framework of the machine structure, we see that in reality the story is linear with a beginning, middle and end, hidden inside what seems to be non-linear by choice. That is, the plot is an illusion, and the real meaning can be found if you look past it. It is appropriate if you consider the premise on which the film is based.
COUNCIL
In order to continue this analysis, we must pass the basic story of the “Nine”. Although I usually give away spoilers, I need to understand the mechanics of the movie. “Nine” centers on the character played by Ryan Reynolds. Because there are actually three stories interspersed in the movie, Reynolds plays three characters: Gary, Gavin, and Gabriel, respectively. Although a man believes, it is not; Gary, Gavin and Gabriel are each incarnations of a higher order responsible for creating the universe and everything in it. The problem is that he has become so involved in the machinery of our society that he has become completely immersed in it, forgetting who he is and playing the role of a very similar game, a role in online-games in playing games.
This puts Reynolds in the middle of the power struggle between the two forces. Hope Davis, playing Sarah, Susan, and Sierra, and Melissa McCarthy, who sings Margaret, Melissa, and Mary. While it is easy to interpret the names in a biblical context (G is for God, S is for Satan, M is for Man), the story is not quite so black and white (except for the first appearance). Davis, in the form of Sarah/Susan/Sierra, represents the forces that want Gary/Gavin/Gabriel to remember who he is and get back to par (he’s been involved in our universe for 4000 years). McCarthy, in the form of Margaret/Melissa/Mary, represents the human side of the equation. She cares about him and doesn’t want to leave him. More than that, he fears that if Gary/Gavin/Gabriel leaves our world, it will be destroyed in his passing. The film shows this power struggle in three segments.
The first installment is “Prisoner”, in which Gary, the actor is placed under house arrest for smoking crack and wrecking his car. Having already burned down his house, he is placed in the home of a screenwriter who is shooting a pilot for a television show. While Margarita is being kept at this house, he is given permission by PR to be kept under his control. Gary also meets Sarah, a fastidious woman who promises some relief from the daily grind of prison. It is also here that we learn something that will happen with the number nine. Gary begins to see numbers everywhere, and we, the audience, get the first hint that something more is going on than what the naughty actor’s story has included at home.
The next segment of the film is “Reality Television”, in which we follow Gavin. Gavin the writer turned director. Gavin has just been given the go-ahead to film his TV pilot for the show “To Know,” which he describes as “Rosemary’s Toddler.” While Gavin is working on his finished show, he’s followed by an invisible camera crew that brings his adventures to “Project Greenlight”-style reality television. For Gavin, this moment is make or break. This work needs to be completed, or the world will end. Until that very thing. Also in this competition are Susan, her network of contacts, and Melissa, her lifelong friend for whom she wrote the lead roles in this show.
The last segment of the film is “Knowing”, and it is here that all the loose ends are tied up. “Getting to Know”, as you might have guessed, is actually filming Gavin’s show. And here we see the achievements of Gabriel, a game designer. His car runs out of battery-powered and with his family (with his wife Maria) waiting for him. , he sets out to find a place where either his cell phone will work, or where he can find someone to come and tow his car so he and his family can get home.On the way, he meets Sierra, a hiker who does little more than give him a ride home.
Although these segments were not initially depicted as chronologically sequential. Everything takes place in the same world, but also at about the same time. For example, Gary is locked in Gavin’s house while Gavin broadcasts his show, which features Gabriel as a character. In Gavin’s segment, however, we see that he actually came home after he aired the pilot and lives in the same house as Gary. They do not know that it is their own, but they can hear each other, and even briefly see each other. “Getting to Know” is the most removed from the other segments in this regard, but I suspect that’s because both its function as a movie segment is ending, and its status as a purely fictional environment. When trying to follow the raw physical mechanics of the screen, it’s easy to see how things can get confusing. However, it should be noted that the physical design, like the various objects themselves, was largely an illusion created by Ryan Reynolds.
THEMATIC CONVERGENCE
So far the debate has been complicated by these notions of reality and illusion. This is important because it is not explicitly stated in the film, but symbolically represented. In “Capture” he is presented with Gary, a “real” person in a “real” world. Not only that, Gary is a professional simulator. The actor is a participant in the television series. Through “reality television” we see the transition between reality and non-reality. Gavin, in the “reality world”, is responsible for creating a television show. In addition to this, Gavin is also the subject of a reality TV documentary. That is, it is both real and character. This leads us to “Knowing”, in which Gabriel, a character in Gavin’s show is purely fictional.
Along with this theme of growing non-reality is Gary/Gavin/Gabriel’s growing awareness of who he is. In “Prisoner”, Gary has no idea what his true nature is, but something deep inside him that he knows is repeated throughout the number nine. He burns his house and locks himself in another’s house, slowly wondering what is going on around him. As an actor, he plays the main role in the show “Crime Lab”, where he plays a police officer. A rule follower, so to speak. Moving on to Gavin we see someone who creates the rules by which actors like Gary must work. Moreover, Gavin himself submitted to the king. As a character in a television show, he is represented in whatever way the producers of the show want. In addition, Gavin enjoys online role playing. In other words, a character acts who operates by rules created by someone else. Gavin is both “guilty” and “not-guilty”, but also closer to his true nature than Gary.
By the time we get to Gabriel, we see the character operating in a completely fictional world. Despite being completely fake, Gabriel never comes any closer to his true existence. Here, in this case, is a game designer. It essentially creates a world that rules the houses that other brands play by. There is also a debate here as to whether he plays the games he does (he has two personalities), and whether he plays in “God Mode” (a mode where he can break the rules and do as he pleases. He doesn’t;
What we must understand from Gary/Gavin/Gabriel’s perspective is that our world is fake because he created it out of lust. Because of this, the increased non-being reminds him that he is not where he is supposed to be. In addition, when we observe his character, we see that he is reaching more and more for the knowledge of his higher-order status through the use of characters that are primarily the role of players (Gary), to those who are the creators of the world (Gabriel). Because Gabriel has lost himself within the universe, he is confined to it (“Prisoner”), playing a role that he thinks is real, but is not at all (“Reality Television”. Once he realizes and accepts his situation, he must freely transfer himself to metaphysics (“Knowing”). ).
VENUE DYNAMICS
In addition to the metaphysical aspect of the film, he notes that there are aspects related to entertainment. Especially when it comes to online gaming like World Time or Second Life. In “Prisoner”, Gary is an actor playing a role on television. An important aspect of television is that viewers live vicariously through the characters depicted on the screen. Furthermore, it should be noted that Gary is playing a game (albeit unknowingly). It is essentially a game that ends without leaving the house. Of course, Gary is careless, crosses the boundaries with impunity, and thus loses the game by breaking power. The game ends, and we switch to Gavin.
Gavin’s play centers on his show. And he eloquently says that if the proposal is not made, the world will end. In doing so, he unknowingly finds himself playing against Susan, who is primarily working to get Gavin to sever his friendship with Melissa. This is important because Gavin’s friendship with Melissa and her various incarnations keeps him tied to his human identity. By severing Gavin’s ties with Melissa, Susan also sets in motion a series of events that would cause Gavin to lose control of his show. He essentially dies before his show ends, and as a result, Gavin loses the game.
Gabriel’s game ends as well, but for a more important reason. He decides that she is no longer worthy to play. He also notes that Gabriel’s game has at least a goal or an end stage of three missions. In case Gary simply had to stay. In Gavin’s case, he had to accomplish his goals. In Gabriel’s case, the game seems to be finding a way to start his car. In reality this is not true. In this scenario, Gabriel is not required to do anything. He is simply involved in the process where he recognizes what has happened to him. Here, we get an interesting connection with the world of online gaming today. Gabriel was addicted.
Whether game addiction is an actual problem depends on the nature of the situation you are talking about. Some will say that the addicts never left their seats, preferring to spend their lives in the place of an orc or an elf. Some say it’s a matter of discipline and knowing when to play or not to play, and some dismiss the concept of game addiction altogether. For Gabriel, if it is not an emotion, it is certainly an obsession. Creating the universe, he sank slowly into it, continuing to play various roles, until he had no choice but to intervene. Unfortunately, they can’t seem to pull him off his seat and make sense of him. They enter the game and play by the rules, waiting to meet the chance directly.
Conclusions
As can be seen, there is a lot to dig up here. as for the film, its content, puzzles and meaning. Of course there are defects to be recognized; The use of nine is a pure gimmick that is almost discarded halfway through the film. The revelation of who Gary/Gavin/Gabriel was also a bit disappointing. It’s hard to see how anything else could have escalated, since the focus of the film seemed to be more along the lines of a growing sense of self than a confirmation of God’s existence.
Overall, the use of plots to develop the story as opposed to the plot was very clever and I felt, increased to the idea of reality and non- re- quently Others may be confused by the arbitrary nature of the plot, but it is important to step back from what is happening physically and think about what is trying to be communicated thematically. Although it is somewhat laughable, it is not terribly moving. It is at times funny and serious, a pleasure to watch, and, I think, the price of confession.
