Fountain Review Some Spoilers

Rating: 10/10 (15 September 2006)

The Following are my impressions from today's screening in Toronto.
I suggest you don't read this review, or any for that matter. Forget the Venice stuff, and the hissing at Toronto. Go to this film with an open mind.
But if you're still here.
I suppose I had a lot of expectations going into The Fountain. Besides the 6 year wait, I truly believed in Aronofsky's potential as a filmmaker. I knew that given the right material (and the right budget) Aronofsky could really make something great.
From the moment the film began, thought, my expectations were completely shattered. I went in thinking I knew what this film would be, but the film proved to completely different. I thought I was going to see a Darren Aronofsky film as I knew them to be, complete with his usual cinematic vocabulary. Gone are the hip hop montages, the split screens, the snorri cam shots. This film worked on a completely different level, which wasn't a bad thing by any means. Just different. It took some getting used to, and I definitely think a second viewing with help with the acclimation (Thankfully, I only have to wait two weeks for Fantastic Fest!!)
In fact, as Aronofsky pointed at the introduction to the film on Tuesday, The Fountain and his previous efforts are completely different. Don't get me wrong. The Fountain is still very much an Aronofsky film in its dizzying use of dozes of layers of thematic ideas, dazzling visuals, and emotionally crippling narratives.
But things feel different this time around. It all boils down the fact that I've simply never had to process a film like The Fountain before, which leaves me both confused and amazed. The structure of the film is pretty much old news by now. Tomas, Tommy, Tom Creo is a man of three different times (1500 Spain & New America, 2006 America, 2500 Space). In the past he is a conquistador struggling to find the tree of life for his queen, Isabella. In the present he is a cancer research specialist struggling to find a cure for the cancer killing his wife, Izzy. And in the future, Tom, a combination of the past and present meditates in deep space, with painful memories and hopes of a solution to his single greatest need.
Once the film shifts into the third act, which is difficult to pinpoint since much of the movie plays like three separate third acts, the film goes into overdrive, relying most on images and the music of Clint Mansell (with Kronos Quarter & Mogwai). It's a powerful conclusion, and while not completely spelled out, more than wraps everything up. More than that, its the most satisfying 20 minutes of film I've seen in a long time.
Visually, the film is nothing short of spectacular. Aronofsky did the right thing by not relying solely on computers. Instead, he assembled a hodge-podge of effects crews including Peter Parks crew (microphotography) as well as his long time collaborator (and once roommate) Jeremy Dawson of Amoeba Proteus (Aronofsky and Dawson's SFX company). The visual tapestry they create is jaw-dropping. Trust me. You've never (and most likely will never) seen stuff like this on screen.
The score by Clint Mansell also surprised me. I guess I was expecting Requiem for a Dream II. The music plays throughout most of the film, with only one or two scenes operating in silence. The music is never triumphant (as I thought it would be) and instead creates an organic rhythm that is finally granted release in the most spectacular moment in the film. Sorry, I'm not giving that away. Mogwai's contribution seems to function mostly in the 1500 time period, giving the period piece quite a unique and dangerous edge to it. Of course, the Kronos Quartet amazes again, and really provides the score with some emotion. Those Clint Mansell fans who happen to like his composition, "The Last Man" will be happy to know that the theme is prevalent throughout much of the film, and plays over the closing credits.
The editing of the film must've been a large challenge to get right, but for the most part they get it. The film uses a lot of fades, which gives the film a feeling of breathing, of a heart beat. It sets up an interesting rhythm which accelerates as Tommy gets more frantic.
Thematically, the films delves into some pretty heavy territory. There is a scene in the film involving Tommy after Izzy's death which left me feeling uneasy about Tommy's character and where the film was taking me. He decides to continue on with his research, revealing a darker shade of Tommy's character. The Fountain is not an easy film emotionally, and those expecting a Hollywood treatment of the concept of death will be surprised. The Fountain is about accepting death, which is something most people aren't ready to do. I admit I'm not sure if I'm ready to deal with that. However, if the Fountain is even half right about the implications of death, there's really nothing to fear.
Again, The Fountain really surprised me. I wasn't expecting it to turn out the way it did. Instead of being the movie I wanted it to be, it was the movie I'd never even imagined. The Fountain is a beautiful film, and I'm thankful that Warner Bros.gave this film a chance. Thank you, WB & Regency. Forget the reviews, (including this one) and go see this movie for yourself. Give into it. Love the characters Tommy & Izzy as Aronofsky intended. If you do, I promise you the experience will be a completely rewarding one.
Finally, thank you to everyone involved in the making of The Fountain. It was truly a rewarding experience, and worth the wait.