You just have to see it again!

Rating: 10/10 (27 January 2011)

Rating: **** out of 4.
Darren Aronofsky's THE FOUNTAIN was such a disappointment on his part that, eventually, it's bound to inspire a few defenders who think differently from the not-too-impressed critics and audiences. You can include me there! I just saw THE FOUNTAIN a few days a go and thought it was great; a movie that may demand multiple viewings for it to sink through and you can count on it, I will see it again! One of the things Aronofsky wanted for THE FOUNTAIN, like its own main character, was for it to remain timeless. People might look at THE FOUNTAIN today and find it confusing, difficult, and rather odd, but art is sometimes like that. A work of art is not evaluated immediately; a true work of art stands the test of time and I think THE FOUNTAIN could prove itself to be a future classic. Right now, it's an immensely underrated but lovingly defended film for a more thoughtful and patient audience. It's certainly bigger, in scale and budget, that Aronofsky's earlier efforts, but it packs the same punch and is bound to find more audiences in the future as those films had.
The story unfolds in three separate time frames. Dr. Tom Creo (Hugh Jackman) is a scientist desperately finding a cure for the tumor that's slowly killing his wife Izzi (Rachel Weisz), but too much time working sets him apart from his already dying spouse. Rewind a thousand or so years, and an almost similar tale unfolds with a conquistador (also played by Jackman) searching for the Tree of Life in a hidden Mayan temple for his Queen (also Weisz). Meanwhile, in the far future, a space traveler (Jackman--with a bald head) protects the Tree of Life concealed inside a space bubble, taking it to the Xibalba Nebula where, it is said, stars go to be reborn. So it's part historical epic, part sci-fi, and all love story, or at least a story about love and a quest to save it that spans across time.
Jackman and Weisz may not be the most compelling couple ever, but they make their characters work and we believe that there is love between these two. Ellen Burstyn provides some excellent support (this is her 2nd time working with Aronofsky, after REQUIEM FOR A DREAM). Clint Mansell's score is alluring, mysterious and at time simply beautiful. The stunning cinematography and the use of lighting all play a significant part in telling the story, something that's best saved for more discussions to come.
So if you haven't seen it yet, give this underrated masterpiece a shot. Never mind the critics on this one and judge it for yourself. You might be surprised at what you get here.