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Douglas Pratt

By Douglas Pratt Pratt@moviecitynews.com

DVD Geek: Cloud Atlas

Every once in a while, somebody makes a really great movie that doesn’t become popular right away, but gradually becomes more popular than most of the other movies of its time.  Blade Runner comes to mind as an obvious example, and then there was the granddaddy of them all, Intolerance.  Well, Cloud Atlas will surely find its way into that group in a few years.  The film is just flat out too sophisticated for mass audiences to tolerate—heck, a lot of it is in two different forms of ‘future English,’ neither of which is translated—but if there is any justice in the halls of moviedom, popularity and obsession for Cloud Atlas will gradually spread across generations and across the globe now that Warner Home Video has issued the 2012 production on a Blu-ray + DVD + Ultraviolet Combo Pack.

Directed by the Wachowski siblings Lana and Andy, and by Tom Tykwer, the film, like Intolerance, is broken into different stories set in different eras, with dazzling editing that jumps from story to story like fingers sweeping down the keys of a piano.  The prominent cast members have multiple roles, figuring centrally in some stories and peripherally in others.  Tom Hanks is top billed, and his performances are no stunt—he’s really, really good in each of his highly varied manifestations.  Halle Berry, James Broadbent, Jim Sturgess, Ben Whishaw and Doona Bae also have central roles, with Hugo Weaving, Susan Sarandon, Keith David, James D’Arcy, Zhou Xun and Hugh Grant appearing multiple times, as well.  The stories carry a common theme of freedom, with the ironic corollary that in order to be free, each individual is dependent upon others to achieve or sustain that freedom, and they are given a spiritual link through the shared cast, and through repeated quirks—some of the characters have the same distinctive birthmark, or pass objects and ideas along down the years.  One story is deliberately comedic, and two of them have elaborate special effects, including one that is, in a good way, a cross between Blade Runner and Soylent Green.  Running a grand 172 minutes, the film is dazzling and intelligent, and is never tedious or introspective.  It will take multiple viewings before people begin to recognize how elaborate its breakdown of religion is—how events that happen hundreds of years earlier change in the telling across the centuries while retaining the essence of their truth as an unmutable core—and just how plain satisfying its storytelling is as it whips you along from one situation to the next.  It is a thrilling movie, and is easily the best theatrical feature to come out of 2012, not only for its unrestrained entertainment, but for the boundaries it breaks as it advances the art of filmmaking.

The picture is letterboxed with an aspect ratio of about 2.35:1.  The image quality is finely detailed, and the temptation to freeze frame after frame is difficult to resist.  The DTS sound has a full dimensionality and engaging directional effects.  There are French and Spanish audio tracks in 5.1 Dolby Digital, English, French and Spanish subtitles, and 55 minutes of excellent promotional featurettes that jump between clips from the film, a few behind-the-scenes shots and a group interview with the directors and novelist David Mitchell, in which they share many valuable insights about the movie and reveal details that would otherwise be missed, even after a dozen viewings.  The DVD included in the set has 5.1-Dolby sound that is not as enveloping or enrapturing as the BD’s DTS track.  The other language options are the same as the BD, and there is one of the featurettes, running a total of 7 minutes.

One Response to “DVD Geek: Cloud Atlas”

  1. Eric M. Van says:

    Glad to see a review that gets it (and makes the same Blade Runner comp that I’ve been making — I saw both films the day they opened).

    I suspect that it will, however, remain a film that many viewers will find challenging, for the simple reason that many brains are not wired to consume six intercut stories while retaining the emotional charge of each, while effortlessly making the connections among them. I’ve actually verified that hypothesis with a personality survey I constructed and linked to at IMDB. Meyers-Briggs “Intuitive” types (whose brains default to perceiving connections among information, according to me a lowest-level cognitive trait) rated the movie significantly higher, and this was also true for a question about attentional lability (being prone to stop what you’re doing in the middle and start doing something else that seemed more interesting) that combined two additional traits from my own personality theory. (Details about all of this should be at my blog Real Soon Now.)

    Nevertheless, for certain brains it’s some kind of masterpiece. I’ve seen it twice in the theater and once at home, and the friends I showed it to can’t wait to see it again. It’s gotten richer and more emotionally satisfying each time. The conclusion of the interview between the Archivist and Sonmi is among my handful of favorite movie moments ever.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato