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Back and forth, back and forth. The pendulum swings back to praise for Aranofsky's THE FOUNTAIN!!
SPOILER ALERT !!
Ahoy, squirts! Quint here with some more reviews of Darren Aronofsky's Sci-Fi romance flick THE FOUNTAIN. This one seems to be dividing audiences much in the same way that films like DONNIE DARKO and 2001 did. Those that have the movie wash over them think it's the second coming and those that fight it seem to find it pretentious, arty and dull. That's good for me, as I'm usually on the side that gets to enjoy these types of flicks. However, nothing pains me more than seeing some arty, slow piece of crap that thinks it's smarter than it is. I hope I side with these guys below.
You'll get two super-glowing reviews below. I love the passion in both reviews and I hope I have that exact same feeling after watching it. If any filmmaker has earned my trust, it's Aronofsky. The below two reviews aren't heavy on the spoilers, but just to keep things civil and safe I've spoiler-tagged this story for those innocents who don't want to know. For the rest of us, enjoy!!!
Tonight at the Winnetka 21, deep in the Los Angeles
valley, Darren Aronofsky's highly anticipated "THE
FOUNTAIN" screened to a packed house of recruited test
screeners.
The Winnetka 21 is not the first theatre in LA I'd
think of testing an intelligent, genre bending work of
art like this (let's just kindly use the word
"suburb") but judging by the pin-drop silence
throughout, the film transcends demographics and
somehow, defying all expectations, is an across the
board success with general audiences.
Aronofsky has made the unthinkable: A film that will
please the 2001: A SPACE ODYSSEY crowd, as well as the
TERMS OF ENDEARMENT CROWD.
The plot centers around Tom, a Doctor played with
natural intensity by Hugh Jackman, trying to find a
cure for his wife Izzy's (Rachel Weisz) terminal
illness. Instead of spending her last days by her
side, he's at the lab trying to crack a new medication
using part of a tree found in South America.
The film jumps back and forth between this present day
situation and the far past where Tom is a Spanish
soldier trying to find a Tree of Life the Mayans have
hidden in a secret temple. The Queen (again, Rachel
Weisz) has asked Tom to find this tree to save Spain
and, more importantly, so the two can live together
forever.
The final setting of the film is the distant future
where Tom is in a sphere floating through space,
trying to get the tree (which we are led to believe is
a manifestation of his dying wife Izzy) to an expiring
star in the hopes it will bring her life again.
If all of this sounds hard to follow or impenetrable,
it's only because the film isn't terribly literal, and
to pin it down with a simple logline is not only
impossible, but can't do it justice. But the film is
NOT hard to follow and is terrifically engaging on an
emotional level.
Stylistically, as with Aronofsky's previous works, the
cinematic language is visually aggressive. However,
the stylishness of it here seems warranted and
motivated by emotion. Striking visuals serve as
motifs to help the viewer connect the dots between the
fractured storyline, and this works beautifully.
Extreme closeups of the characters on draw us deeper
into their joy and despair.
The chemistry between Hugh Jackman and Rachel Weisz is
completely effortless and both turn in fantastic,
emotionally wrenching performances. I will admit I
actually wept on and off for the last 15 minutes I was
so involved in Tom's desperate fight with the
innevitability of his wife's passing.
It is these performances that anchor and ground the
film, allowing us to truly relate to this fantastic
and original world like nothing we've ever seen.
And you HAVEN'T seen anything like this before. The
future world somehow manages to be obviously
futuristic, yet completely organic. It's not a sea of
CGI, but rather more like an ACTUAL SEA.
This film is an absolute triumph. The best work
Aronofsky and his collaborators have put to screen
yet. It's impossibly epic, yet staggeringly intimate.
You never get lost in it's vastness because at its
core it's very simple. It's about Life, Love and
Death.
It doesn't get more universal than that.
If you print this up go ahead and call me:
SILVERGLEAM
And here's the second one, even more impressed than the above reviewer!
Hi; long time reader, first time writer, etc, etc.
I was at the Chatsworth screening last night, but I wanted to take some time to try to process ths film before I wrote anyhing down, so I noticed some other people got to it before me. But I hope you'll let me have a say as well. I'll do my best to keep this completely spoiler-free, so maybe Neilsen will actually let me into another screening someday if I'm found out.
First off, let me say that I've been anticipating this movie since the beginning. Aronofsky has been one of my favorite directors since the late 90s, when I first saw PI and flipped out at its originality. That movie became the first DVD I ever bought, when I got my first DVD player. REQUIEM has been on my top-10 list since it was first released.
And I've followed the production stories on THE FOUNTAIN with rapt attention, trying to will the film into existence. When the crew had to pull out of Australia a few years ago, I was distraught. When Brad Pitt dropped out and it looked like all was lost, I was furious at him. And when I finally read stories from the new set, and eventually saw the incredibly teasing website, then finally watched the teaser, I almost cried with joy. Yeah, I was that wrapped up in wanting this thing to come together. It's been a long, long time since I've been this passionate about any film.
So by now I probably have a good portion of you hollering "PLANT!" and navigating away, feeling smugly satisfied with their intimate understanding of my reasons for being so passionate about this movie. I could tell you I'm exasperated with most of the film industry right now, and that the last hing on earth I'd want is to work for anyone in it, but would it really make a difference? If you've already made up your mind that you know what I'm about, please just take off now and save your time.
I want to be honest in this review, and I've honestly adored this project since I first came across it. You might also say I'm just a whore for Aronofsky, but the truth is, if anything, I overhyped this film to myself and others, to the point where it would've been hard NOT to disappoint my expectations.
But I wasn't disappointed.
In almost every way possible, THE FOUNTAIN exceeded my expectations. There were a few trouble spots, so let me get those out of the way first. My biggest complaint was that there was a fairly excessive use of slow-motion, especially in scenes that were intended as centerpieces of the plot. The scenes would've all played just fine without its use. I also felt that some of the symbolism was a little in-your-face, again, in scenes where it was important that the audience really get a point. Neither of these issues couldn't be fixed with a bit of editing.
Now that you know I don't think the film was perfect, I'm going to tell you that it was damn close. As the other reviewer said, I don't think there's ever been a film quite like this one. I was reminded at times of stories as diverse as 2001: A SPACE ODYSSEY, HERO, the WHEEL OF TIME book series, certain Greg Bear novels, and some of Clive Barker's ambitious fantasy writing. In many ways, THE FOUNTAIN is a film that defies genres, yet it incorporates many.
It also intertwines themes diverse as Mayan mythology, Christian religion (in various forms), politics, New Age philosophy, genetic science, astrophysics, and, of course, true love. If all this sounds pretty overblown and clunky, you're right in thinking that it would be in the hands of many directors, but Aronofsky handles it with a great sense of pacing and intensity that made my jaw drop more than once. This in't a sci-fi film. It also isn't a Linklater-esque philisophy crawl. It's primarily a small, simple love story with a few epic elements punctuating the tale, a-la Yimou Zhang. And like many of Zhang's best films, it achieves artistry without being overly artsy.
I'm really a writer at heart, so it's dialogue that really makes or breaks any story for me. It's no secret by now that in the contemporary segments, Rachael Weisz's character is dying of cancer. This is introduced so tenderly and with such subtlety that the scenes between her and Hugh Jackman sound almost exactly like real life; not in the interruption-laced, largely improvised manner that's growing in popularity-the lines are definitely delivered as film dialogue, but they're written (and acted) in a way that comes across as truly genuine. Though there were a few lines that bordered on ER-style soap opera, the dialogue was handled quite delicately throughout.
My girlfriend has a degree in photography, so she's far more visually oriented than I am. She told me afterwards that she was awestruck by Matthew Libatique's lighting and composition, and was amazed at the visual metaphors that permeate nearly every scene. She recently completed a project dealing with the basic mythological themes we encounter in everyday life, so I think she had a special appreciation for the care that both Aronofsky and Libatique clearly invested in research, and in telling the story's underlying folktales so lovingly.
My final comments (I promise) are on the music. Luckily, the Kronos Quartet had finished their score, and Clint Mansell has truly outdone himself. He took everything he learned from REQUIEM, and upped the intensity and variety. I want to buy this score. It complements the visuals perfectly, and like the score for REQUIEM, it stands alone as a moving work.
After the screening, I had the opportunity to talk to Aronofsky himself, and congratulate him. He seemed really nice in person, and thanked me and my girlfriend for coming. He also asked me to tell my friends how it affected me, so I figured I'd do one better, and tell everyone who'll read this. I hope that those who haven't already decided I'm a plant might read this review and become more hopeful about this movie's chances of success, and support it. If anyone does, then Darren, you're welcome.
So there we are. At this point, you know whether or not this film sounds like someting you want to see. Many people at the screening last night walked out, presumably because they were hoping for a space adventure, or a movie with loads of sex, or even an action flick...who knows? I'd just ask that if you go to see THE FOUNTAIN, go prepared for what it is, not just what you want it to be. You won't be disappointed.
Call me Extrapolation.
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+ Expand All
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...especially changes based on the opinions of idiot test screening audience members who expect an action movie. I know the last test screening was done to determine how to market the film--anyone know the purpose of this more recent screening?
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I'm sorry, I can't take this this "serious" science fiction film after Serenity was ignored by audiences (ie. idiots).
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He's made 2 Okish films, whats the big deal. Nowhere near the same Leauge as Chris Nolan, nowhere near.
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...but I think these test screenings might be to do more with how the market the damn thing...seems like it's more than a cold sci-fi story and more than a weepy love story...they probably can't sell it to the Fridy night popcorn crowd but maybe consider it too costly to throw in a few arthouses, doesn't sound like it's going to be a date movie of any sorts...I guess if I was in WB's marketing department, I'd be trying to figure out how to market it right, Personally they oughta be aiming this at an smart, adult audience, getting the movie websites on board, film fans. The Fountain may not be a smash but sounds like it's going to be one of those films that's going to resonate for a long time.
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Because it might as well be his second coming! I CAN'T FUCKING WAIT!
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Is Cronos quartet doing the music?
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I'll be watching this. You don't need CGI and a massive budget to make some intelligent sci-fi, just a solid script and actors. I'd take this, Gattaca, and Solaris over most of the shit being turned out.
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I must admit I'm slowly losing interest in this film..still have the graphic novel lying around, untouched, and unfortunately the teaser didn't really hook me like I'd hoped.
Funnily enough, it's been the screensavers on the main site, that have got me a little ingrigued. I love the look of them and if, as I bloody, fucking hope, the music used for those will also be incorporated into the film, then I'm starting to look forward to October again.... -
If you can think of a more interesting young director than Aronofsky, I'd love to know who it is. Foxman, if you think "pi" and "Requiem" were just OK, then you clearly just don't get his work. Different strokes for different folks, but Nolan ain't the answer here. He's definitely a solid director, but both of his hit films benefited greatly from a terrific script, not from any kind of unique directorial touch. Look at "Insomnia" to see what happens when his script is mediocre.
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Yes, that's right talkbackers, I am drunk!
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Hes made two great films. Requiem is one of the best films Ive ever seen. Thats why its a big deal to me
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It's not gonna work. Granted, it's more than likely a work of art, but you know as well as I that's not what the moviegoing public wants to see. During the summer and winter months.
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Why would he be looking to make money off this film. Hes never made mainstream films and this certianly wont be any more mainstream. It may be expensive but its still an art film.
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Give me "Kubrick" style static shots over "Tony Scott" style jump cuts any day. Aronofsky seemed to go nuts with Requiem. PI was well edited though. I'll see it. Any intelligent movie with visual beauty and human emotion will get me in the theater. Normal Hollywood movies bore the piss out of me. I like the unexpected.
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Ignored by most, Solaris was a beautiful, touching film. One of Clooney's best performances to date. Underrated masterpiece. 2001 was a hit with acid-heads and stoners in the 60's, but wasn't recognized as a true masterpiece until many years later. The Fountain may have the same problem.
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I usually hate fast editing too but I have to completely disagree with you about Requiem. I mean come on the setpiece towards the end of the film where the editing got faster and faster was just phenomenal. One of the best editing sequences Ive ever seen in my life.
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This is getting borderline ridiculous, just put it out. It'll find an audience, plus it will undoubtedly make a crapload of money from DVD sales anyway.
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You can't like this *and* Jar Jar. They are mutually exclusive. You have to choose one, all choices are final. ;-) Also good to hear some Solaris love but I always thought the ensemble cast of Gattaca did an even better job. "My eyes are prettier!" Jude being a total wank. Great.
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i happen to live in chatsworth and the winnetkia gets lots of art films. if you would get your head out of your ass and think a moment you might have noticed the 2 indie films were playing there THAT EVENING! also, it isnt a suburb, its a fairly wealthy area with many horse properties. also, its where almost all of the porn you watch comes from.
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this movie is very kurbrikian.
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Also the editing wasn't fast for no reason. The fast montages that were all over Requiem were intergral to both the look and feel of the story. The idea that he did it becuase he wanted go crazy like Tony Scott is so wrong.
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in the same sentence. Anybody know what tonight's forecast is for Hell?
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He wasnt referencing quality he was referencing tone and how weird and complex the movie is. By the way Donnie Darko is a great film and 2001 is overrated.
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Haven't we reached the stage where 2001 is beyond criticism? Calling it overrated is like dismissing Citizen Kane or Vertigo. 2001 is simply one of the seminal films of the 20th century. It changed everything! Lovecraftian, maybe you should put aside your personal taste for a moment and consider that someone like yourself with a lower attention span maybe isn't the best person to be judging films like 2001. Hey I loved Donnie Darko too, but you can't compare them to each other. It's ridiculous.
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...honestly, the first reviewer lost me at that 2001/Terms of Endearment line. Who the fuck wants to see that movie? What I want to know is when is someone going to make a movie that's a cross between Last House on the Left and Dr. Zhivago? That's the movie I want to see!
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maybe donnie darko's as good as spartacus or lolita, but 2001? you're an idiot.
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i meant to insult lovecraftfan. your name's just too easy. although lovecraftfan suggests a whole other avenue of mockery...
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forward to hearing more about it. It sounds like a film searching for something to say about the human condition with sincerity instead of playing it safe. Those films are always good to look out for. Also, I am reminded I still need to see Solaris. Eyes Wide Shut is an underrated film since we are on the subject of Kubrick.
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...and maybe a guy called Tarkovsky too. Remember him? Russia's Kubrick!
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... by andrej tarkovsky was a better movie than the remake - i agree Rasputin77 - i also feel "Requiem for a Dream" is overrated - but ive been looking forward to "The Fountain" since first hearing about it a couple years ago - and to the talkbacker that suggested one cannot like "jar jar" (i take that to mean more low-brow sci fi) and movies like "The Fountain" - that is bs - and a snob attitude
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Lovecraftfan- I think we are on the same page! I can appreciate 2001 but I think it IS overrated... lepointe28- erm, no-one said Aranofsky directed Solaris. It was simple mentioned (by me) that sci-fi doesn't have to be all lightsabers etc. to be good. So I'd read things properly otherwise you'll end up looking like an angry dumbass moron (your words).
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... its only the best sci fi film ever made - one of the best films ever period ... still relevant today - even the movie we are discussing - "The Fountain" - wouldnt exsist if it werent for 2001
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No offense to Marty, but Aranofsky is and always has been the guy born to direct a film version of Hyperion. I can't imagine it ever happening though, unless the Fountain somehow pulls down $160 million domestic. Oh, and 2001 *is* overrated -- it barely squeaks into Kubrick's top five, really, and then only because Full Metal Jacket goes off the rails in the second half.
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what - according to you - are kubrick's top 5 - and if "eyes wide shut" is on your list then im wasting my time asking - how is it overrated? - because it requires a longer than average attention span - 2001 was years ahead of its time in concept and execution - there has yet to have been a sci fi film as good (in my opinion)
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Is 2001 over rated.. hell yes,its also flawed, over long and unless you`ve read the novel almost incomprehensible... saying all that when you look at it as a whole its still a bloody fine film....
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I'm with you on this one! (Even though this TB is about to die). It is a good film but I think the points you mention are relevant (certainly to me). I love Kubrick but I struggle with it.
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