The Savage Planet, also called The Fantastic Planet, is an allegorical science-fiction animated movie about morality and the established social order.
The story is set in the dystopian planet of Ygam, where the Draggs, a species of giant blue humans, rule. There is another human species, the Oms, tiny in size, whom the Draags consider a pest and exterminate regularly, keeping some some of them as pets. Terr, one of those pets, is found and kept in captivity by a girl called Tiva. He grows with her master, learns all the secrets of the Draags, and then...
The universe and atmosphere created by Laloux are superb. Mix Salvador Dalí surreal landscapes and imagery, Bosch architectural fanciness
and oniric creatures, add a hint of 19th century botanical
drawings, slowly pour some psychedelic music by Alain Goraguer, and whisk all
energetically with an allegorical story adapted from Stephan Wul's by Laloux and Roland Topor, and you get something unique. The 2-D animation has all the limitations that the genre had in the 1970s, but the creativity and artistry of the drawings and story will make you forget the deficiencies of the animation (especially clear in the poor mobility and reduced facial expression of the characters). Some of the scenes are memorable, and I especially liked the Draag's mating and meditation practices, and some of Tiva's learning trances.
The movie is not apt for children because it has violence, sex, nudity, and elements that are difficult to explain to children. The movie, indeed, touches many adult serious themes: slavery, class
domination, racial extermination, relationship between Theology and Science, relationship between Humans and Nature, cohabitation/conflict between different social systems, colonial and imperialistic attitudes. The movie is complex enough to offer many elements of reflection without being dogmatic, and the viewer will be surprised at finding oneself understanding the good and bad points in both societies and ways of acting and living.
The main problem with the movie is its slow pace, and the emotional frigidity of the characters that don't allow the viewer to empathize with them beyond a pure intellectual or visual level. Furthermore, there is not enough action or thrill, so one gets easily bored after the initial fanciness of the imagery sinks in.
The Fantastic Planet is weird, artistic, psychedelic (even hallucinogenic), naive and delightful, but not always engaging - one of those movies that you want to watch because it is like no other, and sounds too cool not to have in your watched-movies list. The movie wan Cannes Jury's award in 1974.
A Japanese animation movie based on a comic by Osamu Tezuka, that tells the story of android Tima and her human friend Kenichi in the city of Metropolis. It is loosely based in the classic movie of the 1920s.
Metropolis shares with Astroboy two of Tezuka's themes: 1/ Father-son troublesome relationship due to the Father's rejection and unloving treatment of the son. 2/ The presence of a great variety of old-style chunky robots and very developed humanoids who ask themselves what/who I'm I?
The animation is flamboyant and amazing regarding the settings, backgrounds, architecture and machinery, and combines 2-D and 3-D mixed with some real movie elements. Some of the scenes at the end of the movie are spectacular from a visual point of view.
The mood of the movie is excellent, with the creation of a retro-futuristic city very developed, but impoverished and without freedom. We have the bright city and the underworld, with different colours and styles.
The music is fantastic, also retro, with lots of Mow-Town, classic Jazz, alternating with symphonic pieces that reminded me of John Williams'.
The script, though, is a poor mix of well-known sci-fi elements and characters. I found the script not engaging most of the time, not only because of the lack of originality of the same, but, above all, because of the drawing of the characters is completely childish, which barely fits with the innovative and more artistic style of the rest of the movie. Tima and Kenichi are beautifully drawn, and, being children, the style suits them, but the adults are drawn in a very different style, very 1970s cartons!, which doesn't seem to give visual homogenity to the film or fit the story.
I felt that the movie was perfect for teenagers, with elements that would suit both children and young adults, not as much for adults, unless you are a Tezuka's fan. Entertaining nevertheless.
Brazil tells the story of Sam Lowry, a public officer who is dissatisfied with his personal and professional life. He has recurrent dreams about a woman with whom he finds happiness. When Sam meets Jill Layton, he realises she is the woman in his dreams. Sam is wrongly accused of sabotaging the government, and he will have to hide, escape and fight for his life, prove his innocence, win his girl over, before reaching his dreamed dreamland - Brazil.
Brazil is a very irreverent and humorous movie that deals with serious themes and philosophical queries. Brazil is an analysis and critique of some of the sins and obsessions of our society (still valid more than 30 years later): incompetent and self-absorbed
bureaucracy, the obsession with youth and plastic surgery, government censorship,
terrorism, social and media manipulation, order and chaos dynamics, the place of the individual in Society, and the validity of day-dreaming to create you real world amongst many others. The moral of the story lies beneath, clearly visible, but masked as a surreal dreamy science-fiction satire. There are many elements that reminded me of Orwell's "1984", but Brazil is funnier and focuses more in the power of the individual again the System than in the powerlessness of the individual in front of an oppressive System.
The movie has an unique and original visual style, especially brilliant if we take into account that the especial effects are all mechanical and not digital, and that some of them were really difficult to create when the movie was filmed. All the day-dreaming and dreams segments are brilliantly shot, as well as the impacting images related to the interrogation at the end of the movie, which were shot inside an abandoned thermonuclear plant.
Brazil's atmosphere is also excellent with a predominance of grey and beige hues and a fashion style that mixes elements from the 1950s and the 1980s to create an undated near future. This mix of contemporary and retro was extremely original and innovative at the time, and it is so still nowadays. In fact, the retro-future style has fed the aesthetics of contemporary movies considered visually innovative, like Jean-Pierre Jeunet's City of Lost children, Delicatessen, and Micmacs, and Proyas' Dark City amongst others.
The performances of most leading and supporting actors are great. Jonathan Pryce's physique and acting talent are a perfect combination to create the character of Sam, a very normal man who is also very vulnerable, naughty, adventurous and dreamy. Katherine Helmond is brilliant and very funny as Sam's eccentric mother Ida. Robert de Niro is fun in his small cameo as subversive independent heating technician, as well as Bob Hoskins as the legal heating technician, Ian Holm as the incompetent Mr. Kurtzmann, and Michel Palin as the butcher at the Information Central Office. I did not like the performance of Kim Greist as Jill Layton; she looks great on camera but her acting was a bit unsubstantial. The Original Sound Track is mostly the song Brazil (an adaptation of a Brazilian song of the 1930s) played over and over but with different arrangements and tempos that go from playful to melodramatic. The music works perfectly, and it constantly reminds the viewer that Brazil is a real place, a better place where to live the dream life one wants, a perfect destination in your mind to escape the greyness of our daily discontent and the oppressive world that ignores and enslaves the individual.
The European poster of the movie is just an awesome piece of art, and it conveys what the core of the story is perfectly. Brazil is an unforgettable classic - original, thought-provoking and extremely entertaining. Still, a bit too long for me.
** Warning - This review may contain spoilers. I recommend watching the movie and then coming here, especially if the ending intrigues you, and it will **
Mr Nobody is the story of Nemo, whose possible two life lines and three love stories are alternatively presented.
The movie is well
shot and the cast members convincing, especially Jared Leto (as adult
Nemo), who is always perfect in this sort of odd films and roles. Also excellent are Toby
Regbo (15y.o. Nemo), Juno Temple (15y.o. Anna) and Sarah Polley (depressive adult Elise). Diana Kruger (as adult Anna), Rhys Ifans (Nemo's father, Natasha Little (Nemo's mother), among many others, are OK in their respective roles.
The
visual effects are wonderfully understated, very well blended with and at the
service of the story. The theatrical movie sets, the
rich colours, the different hues attached to each different life path,
the wardrobe, and the lovely music -which mixes some old classic tunes with pieces specifically composed for the movie- create an ensemble that is very
easy on the eye.
However, Mr Nobody is a great movie mostly because of its subtle but profound reflection on Human Nature, Human behaviour, Free Will and the meaning of life. The movie reflects on questions like - what makes us what we are? Why we act the way we do? Is free choice a key element to happiness? How does other people's choices affect our choices? The philosophical, psychological, and metaphysical questions posed are sometimes explicitly mentioned, while others are hinted and expressed through the story as a whole, each different life line story in particular, and through Nemo and the other characters' behaviour. Among others, some of the concepts presented here are: 1. Butterfly effect. 2. Principle of Entropy. 3. Schrodinger's Cat Paradox 4. String Theory 5. The Pigeon's Superstition experiment 6. The Nature of the true self. 7. Free will and
fate. 8. The linearity of (or multidimensional nature of) Time. 9. Quantum Physics and parallel universes.
Do not worry if some of these things sound alien to you. They were also alien to me. However, they were intriguing enough for me to get more information, and try to understand what I have seen better. In fact, they are a reason to watch the movie again. However, you can watch it without even bothering, and you will find that the movie still speaks to you.
Jaco Van Darmael himself commented on the script and on his initial intentions in an interview. However, the story has taken a life of his own, way beyond the initial intention of the director.
***
THE ENDING OF THE MOVIE - MY INTERPRETATION The film ends in a way that is open to interpretation. Movie forums are full of comments on the ending, and on Nemo's different lives, actions and reactions. To, me, however, they miss a few important things that are pivotal to understand the way the movie ends. Or, at least, the way I understand it: 1/ The Lyrics of the song Mr Sandman, which is repeatedly played thorough the whole movie, especially the main verses. Are we watching something real or is it just a dream? A lucid dream? 2/ The beginning of the film, with the different possible endings, which all end with Nemo dead, lost in a rhomboidal aseptic nightmarish dream-like world. The narrator is Nemo himself. 3/ The scene where Nemo tells how he was born, which goes from minutes 12.20 to 15 approximately. Here my transcription of what Nemo's off voice says:
"I can remember a long time ago, long before my birth, in the squeezing with those not yet born. When we aren't born yet, you know everything. Everything that's going to happen. When it's your time, the angels of the living put their finger on your mouth and leave a mark on the upper lip. It means that you've forgotten everything.
But the angels missed me.
[Nemo immerses himself in a white milk-like liquid, as he is ready to being born]
Then you have to find a daddy and mammy, and that's not easy to choose.
[Different couples speak about their wishes to have a baby, until Nemo's parents appear]
In the end, I chose them because the lady smells nice, and the man said 'Well, I can tell you how we met. It meant to be. Have you heard of the butterfly effect?' ".
4/ The title of the movie is "Mr Nobody". Shouldn't this, per se, be an indication of something? Anything? Any bell ringing in your ears, yet?
Many of the
interpretations about the meaning of the movie
focus on the event that is photographed in the poster of the movie, but we need to remember that unborn Nemo chose his parents. Therefore, the moment of decisive choice is not the one in the poster, but the one of choosing his parents.
We are told, explicitly, that Nemo can see the future, any possibility in the future, every possible action and reaction in his life because the angels missed him. Therefore, all the couples that appear at the beginning are a possibility. Nemo chooses one. The more you think about it, the clearer you come to the conclusion that unborn Nemo is seeing his possible life IF he selected this couple as his parents, NOT after selecting them as his parents. Not convinced?
Now, we have the part of the movie in which we see centenary Nemo telling his life story/ies to a journalist. At a certain point, the world in which they are living starts to fade out and disintegrate, as it was a projection or a dream. And that is what it is. Something that is not real at all. All this world is white in colour, the same limbo and space of possibility in which Nemo immerses himself before being born. Old Nemo is not real, it is the way unborn Nemo sees himself if he chooses the parents shown at the beginning. If that wasn't true, how do you explain the fact that Nemo is the narrator of the three possible endings that we see at the beginning of the movie?
***
There are other movies that reflect on the effect that personal choice and randomness, free will, determination, fate, and the butterfly effect have in our lives. Just to mention three, just remember Sliding Doors, Run Lola Run, and Cloud Atlas. However, they do not have the clarity and depth that Mr Nobody has.
Mr Nobody is a very
complex film, which, however, is very entertaining and easy on the eye.
After all, it is a possible multiple love story. You can see it in many
different ways and give it the interpretation you want. However, this is a film that needs of certain frame of mind to watch it,
as this is not your usual fantasy or science-fiction movie.
Mr. Nobody is one of the most interesting and thought-provoking film I have watched in a long time. Perfect for Philosophy classes, and for oiling the creases of your brain in those days in which you feel them a bit rusty.Mr. Nobody is one of those movies that linger in the back seat of you mind for days, long after you have watched it. "No
choice is still a choice" is one of the statements presented in the movie on which I have been pondering for days. Would
knowing your fate help you to make a choice? Is one of those questions that did the same to me. The film
is full of statements and questions that will keep you thinking, for good. A cult film already.
The Imaginarium of Doctor Parnassus is Gilliam's return to his old and most playful self with an extravagant modern Fausto-inspired, cirque-looking, fairytale full of magic. The movie tells the story of a travelling "Magic show" troupe, led by old Dr Parnassus, who gambled his daughter Valentina with the Devil thousands of years ago, and what happens when a charming roguish Tony start romancing her, and the Devil wants to claim his prize. The acting is very good, especially on the part of Christopher Plummer, who is truly terrific as Dr Parnassus, as well as Tom Waits as the Devil. This was Heath Ledger's last film, and he is good in his portray of the naughty, nervous and charming Tony. Also good is Andrew Garfield as the good-natured but jealous Anton, and Verne Troyer as the little bright Percy. Supermodel Lily Cole is just OK as the homey dreamer devoted daughter Valentina; not bad for for a first timer.
The parts of Tony behind the mirror, which had to be played by Johnny Depp, Jude Law and Colin Farrell after Hedger's death, are cleverly used and well performed. The two first actors really keep in tune with Ledger's performance, body language and even the inflexions of his voice. The story is extremely believable without Hedger as what happens inside the mirror is a fantasy and projection, not a reflection of reality.
The images, costumes, sets, colours, and dream-like images of the film are spectacular, full of creativity and artistry; they are an intrinsic part of the story, never an indulging showy element. Is the heart and soul of the movie what captivates the viewer, not the special effects. One feels immediately drawn by the magic mirror to a world of enthralling fantasy that the viewer would also like to experience.
I found the end of the movie a little bit rushed, and Dr Parnassus's past underdeveloped, and, well, everything a bit predictable.
This is a very enjoyable entertaining film with a good story, amazing creativity and decent acting. I would say it is a chick flick, in many ways, but I have found many men liking the movie, so it is also a blokey flick for some type of blokes.
The movie is based on Alice Seabold's eponymous book, which I read a few years ago and I absolutely loved. If you have not read the book, you will certainly watch the movie with different eyes. Unfortunately, Peter Jackson's adaptation does not convey the emotional depth of the novel. The Lovely Bones is the story of a murdered girl grieving her own death and the emotional struggle of her family after her vanishing. It is, above all, a story of sadness, guilt, resentment, and redemption by forgiveness and letting go.
Jackson focused on two aspects of the book to develop his movie. 1/ the murder investigation, and 2/ the recreation of the limbo, or pseudo-heaven, in which the girl stays. By doing so, he's forgetting the core of the book, what makes it so meaningful and memorable.
The thriller occupies a minor part in the book, while the grieving of the family, the despair, sadness, uncertainty, pain, love, hatred, forgiveness and self-forgiveness is what matters. In fact the issue of who's the murderer is directly avoided in the book from the beginning, and the name and face of the murderer do not appear until midway the novel. However, if Jackson wanted to create a thriller, why did he decide to show who the murderer is from almost the beginning of the film? The thriller is killed before starting! I really do not see the point.
Jackson has recreated limbo-heaven with great detail, awesome images and creativity. It looks gorgeous. However, all of that was unnecessary, since the limbo is barely drawn (narratively speaking) in the book, as what matters in the book is the story of the emotions. There are too many special effects and not enough lyric emotion or character drawing in the movie, too.
The acting is very good, by both adult and young actors. I loved young talented Saoirse Ronan, whose face transmits great lyricism and performs with great conviction her role. Susan Sarandon makes a terrific quirky drunk Grandma. Rachel Weisz is good, too, but she doesn't play her role with the intensity and conviction with which Mark Wahlberg plays his role of father and husband. Stanley Tucci is also terrific and the weird neighbour.
Jackson adapted The Lord of the Rings superbly, so I was expecting another superb adaptation. This is not the case here. The movie does not honour the book, its spirit and depth. Still, this is a beautifully filmed well-acted movie, with a great script and stunning visuals.
