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MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: Cloud Atlas

CLOUD ATLAS (Four Stars)
Germany-U.S.: Tom Tykwer-Lana Wachowski-Andy Wachowski, 2012

I loved it. And for once, I’m speechless.

But I promise to get to it at greater length, next week. It’s a movie, after all, that can probably be watched repeatedly, and discussed endlessly. It’s divided the critics — some are fervently pro, some contemptuously con — in a way that usually  only the more interesting pictures can and do. It’s long, it’s complex, and it violates about half the rules for a big-budget big-audience movie, while following (and triumphing in) about half the others.

Cloud Atlas is based on the well-reviewed, much-awarded (or short-listed) British novel by David Mitchell, a book that links together six stories, ranging in time and place from the Pacific Ocean in 1850, to Belgium in 1931, to California in 1975, to the United Kingdom right about now, to South Korea in the near future, to  an island somewhere in the ocean somewhen past the Apocalypse.

The movie has a huge cast — topped by Tom Hanks, Halle Berry, Jim Brioadbent, Hugo Weaving, Hugo Weaving , Jim Sturgess and others — and it’s made even huger by the fact that the main actors keep popping up in all six films playing, different roles. In all but one case, that is:The role of whistle-blower Rufus Sixsmith is played in both Parts Two and Three by James D’Arcy. The makeup jobs are sometimes fabulous; you may be shocked, occasionally when you find out who’s playing who.

Mitchell arranged his novel in six parts, advancing chronologically, and those parts  kept breaking off in the middle to bring in part of the last chapter. Then he finished up with the resolution of all six stories, this time in reverse (or mirror) order. It’s a tricky structure, maybe not as tricky as Vladimir Nabokov’s Pale Fire, with its tell-tale footnotes.  So, to lessen the confusion, I suggest you google and read a long synopsis before seeing it.  It would be best to read the novel first, of course, but I realize that’s not an option for lots of us.  Later, maybe.

The movie takes those six genre-mashing stories and interweaves them, cutting back and forth, as in Inception. Tykwer and the Wachowski apparently wrote this infernally complex script together, and then split up for the shooting: Tykwer and his team taking Parts Two, Three and Four, and the Wachowski handling One, Five and Six. As mentioned, the actors take multiple roles, and that’s not a stunt. The galleries of roles reinforce Mitchell’s theme of reincarnation and of souls traveling from body to body. The movie, meanwhile, has many forms itslef. It’s full of romance and mystery and action and spectacle and humor, and the overall form reminds you of nothing so much as D. W. Griffith and his four interweaving stories in that other madly ambitious epic, 1916’s Intolerance. (That got some awful reviews, too.)

You’ll have fun, in any case. Like Intolerance, this  movie is staggeringly, outrageously, madly, breath-takingly ambitious. I didn’t see Cloud Atlas at Toronto, where it reportedly generated a ten-minute standing ovation.  But I would have stood for fifteen, maybe longer. (I saw it at the Chicago’s best movie critic venue, the Lake Street Screening Room, at a critic’s screening for the Chicago Film Festival — where Cloud Atlas was the fest centerpiece.)

So…You must see it. For yourself. Even if you despise it, you’ll have fun vivisecting it afterwards. It’s 164 minutes long, and, as Roger Ebert has said, there’s not a boring second in it. Befuddling  maybe. Boring no.

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“At one point in the comedy dead zone known as Seth MacFarlane’s Ted 2, the title character—a stuffed toy bear voiced by Mr. MacFarlane—and his dimwitted best friend, John (Mark Wahlberg), visit a comedy club to engage in a favorite pastime: throwing bleak improv ideas at the comics onstage. So, seated in the back of the auditorium while cloaked in darkness, the friends start shouting out suggestions like 9/11, Robin Williams and Charlie Hebdo to the unnerved comics. The topics don’t mean anything to Ted and John, who, like Mr. MacFarlane, take great pleasure in making others squirm. They could have just as easily yelled gang rape, the Holocaust and dead puppies.”
Manohla Dargis on Ted 2

“You never expect a movie to hurt you. Disappoint? Dismay? Depress? Fine. But when a movie has a field day asserting the humanity of a fake toy bear at the expense of your own, it hurts. I was led to believe, in part by the posters, that I was getting a movie about a character who’d be masturbating or urinating with his back to us. They should’ve turned Ted around since the emissions are aimed at the audience… MacFarlane doesn’t appear to believe in anything. He just likes to mess around with things that still have value without seeming to get whether that value is greater than his jokes. It’s as if he doesn’t really know what he’s laughing at or care what race and sexuality and gender are. It’s as if he doesn’t know women or black people — just white comedy writers who love to make fun of them.”
~ Wesley Morris On Ted 2

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