Z
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.

Leave a Reply

Wilmington

Z

Quote Unquotesee all »

“I was a brat back when I made Pootie Tang. I was dealing with people every day whose pressures I didn’t understand, and I wasn’t very nice about how I said no to them. I put myself in a position I didn’t have to be in. A lot of what makes this kind of stuff work is empathy. If you’re taking money from somebody, they have a right to look after it. It’s all just trying to be clear about the arrangement. That’s why when I set up ‘Louie,’ I just said, ‘This is what I’m comfortable doing, and if you don’t want to do it, I don’t blame you. But in exchange, I’ll take very little money.’ I was only getting $200,000 per show from them, which is insane, and it goes up just by tiny increments every year. The other part of the arrangement with FX is that if this stops working for them, they should just tell me and we’ll stop doing it. Contractually, FX has a right to demand that the scripts be filtered through them before I shoot them, just like any other show. But from the beginning, they haven’t read anything, and they like the show. If I start turning in shit, then they’re going to start asking to see scripts, and that’s perfectly fair.”
~ Louis C. K.

BOMB: Do you give a lot of direction?

ASSAYAS: I give zero indications. Nothing. To me, it’s all physical. It is all about getting the right actors. They understand the part. They’re not idiots. They’re going to sit down, and they’re going to work. They don’t need my explanations. The problem is that actors listen to directors. They respect them. So, when you say something, it becomes gospel. In a certain way, this limits their imagination. I’d rather say nothing. Then, when we shoot, I fix whatever I don’t like. I channel it as softly as I can in a direction where, maybe, there’s something to gain. But, usually, if you are working with the right people, their instinct will be correct. They will bring something of their own to the character, and to the situation. Ultimately, there will be some kind of human truth to what they are doing.
~ Olivier Assayas on directing

Z Z