Ambitious storytelling of the highest caliber

Rating: 10/10 (18 January 2009)

When I first watched Aronofsky's first feature, "Pi", the one thing I thought was "I really have to make room in my top ten for this". It was flat out one of the greatest movies I had ever seen, with the most ridiculous budget ever. I was certain there was no way in the world Aronofsky could ever surpass such an achievement, even with a huge budget at his disposal, no matter how hard he tried. And then "Fountain" came along.
The central theme of the movie is death. The death of humans, of trees, of love, even the death of entire stars. It is a millennia, light-year-spanning epic, a symbolic representation of man's eternal quest to conquer/evade death and his futile hunt for immortality. Three different parallel stories, taking place 500 years apart from each other, give three different perspectives on the same adventure, each one a reflection of the others, until they finally merge into a single storytelling thread. Three different incarnations of essentially the same character, Thomas Creo (Hugh Jackman), embark on a desperate mission to save the woman he loves, Isabel (Rachel Weisz). The story is profoundly original and as ambitious as it takes, dealing with some of the most important issues of human existence. Death, fear of death, the hunger for eternal life and eternal time and the way people waste most of their lives trying to evade their demise and conquer death, while forgetting to live every precious moment. At the same time it is one of the most engaging love stories. In essence, this "undying love" is the only thing that survives and defies death, connecting all the different parts of the story and becoming its driving force.
All of the known and beloved camera and direction tricks Aronofsky introduced in his previous two movies are also in the Fountain, but very enhanced due to the higher budget available. The script is very elliptic, with many key phrases being repeated throughout, just like in "Pi", in different context and different eras. The same goes with the repeated use of imagery and camera shots to connect the three segments of the story. This repetition feels like a pulsating beat, becoming louder and louder and resonating, until by the end of the film you think you have been watching a 3+ hr odyssey. You know everything by heart and have established a special connection with the characters and their ordeal. Visually, the movie is utterly breathtaking. Whether it is 16th century Spain, a present day hospital or the deep space in the deep future, the depiction is uniquely original, possessing an otherworldly beauty. The special effects of the movie are also very imaginative and well balanced. No over-the-top, alienating CGI. Aronofsky has by now established a reputation of shocking endings and "The Fountain" is no exception. The final 10 minutes of the movie are shocking, heartbreaking, awe-inspiring and emotionally charged like no other sequence Aronofsky has put to screen so far.
The will and determination of the director also pushes everybody else involved in the production to give their very best and Aronofsky has over the years assembled a group of incredibly talented people around him. Matthew Libatique reaches new heights in his art with his accomplishments in this movie. James Chinlund also excels in the art direction of the picture. And Clint Mansell gives his career's best with the score for "The Fountain". I always liked his previous entries for "Pi" and "Requiem for a Dream", but his style is certainly minimalistic and I was skeptical whether he could come up with something able to rival grand orchestral work. And Mansell truly delivers! His score is at times very intimate and personal, at times rousing and bombastic and always at perfect sync with the film's imagery. It complements it and lifts it to a whole new level. After watching it, you simply cannot think of this movie disconnected from its wonderful music.
And then there are the performances. Basically, this is an almost theatrical kind of movie. Most of it could actually be reduced into a monologue. It is all about the two protagonists: Hugh Jackman and Rachel Weisz, who literally shine in their respective roles. About Jackman: Forget Wolverine! Hugh Jackman IS Thomas Creo. Period. He depicts his character with a mixture of determination, agony and grace which makes him almost iconic. He is a conquistador, in every sense of the word, the eternal image of a man willing to overcome every challenge, being either an explorer, a scientist or an astronaut, to move forward. Rachel Weisz plays his companion Isabel, the woman Thomas is always trying to save from imminent death. She imparts in her role a quiet, restrained dignity and wisdom. Weisz's stunning performance leaves no doubt that this is the woman one would be willing to cross oceans of time and space in solitude in order to save. The chemistry between the two is amazing and they give one of the most memorable screen couples ever. "Fountain" is essentially a love story, just not a conventional one. The love between the two is never explained, never disputed, never challenged, even barely described. It is a quintessential romance, the shining heart of this emotion that remains once you remove all the layers of human imperfections, mistrust, jealousy, ambition, dissatisfaction that always plague real relationships. This is an outmost romantic love tale, one which defies clichés. It is important to note that, the word love is not uttered even once in the entire movie! Bravo, Aronofsky!
Is it better than Pi? For me it is almost a tie, although I have to admit "The Fountain" has the edge at some categories, like superior cinematography and a much better score. Just like classics as "Blade Runner", this movie will become better and better with the passing of time. I really hope that in the end, it will receive the universal praise it rightfully deserves.