Too much water in the Fountain

Rating: 7/10 (29 November 2006)

The Fountain Symbolism, metaphors, more symbolism, and more metaphors can't even begin to encompass Darren Aronofsky's The Fountain. Aronofsky helms the picture as if he were Pablo Picasso constructing his most personal portrait to date. Unfortunately, the director does not make things clear enough for the viewer and it took several conversations with a friend following the film to even grasp any concept of what this film was "suppose" to be about. Aronofsky's heart is in the right place and it's very probable personal experience fueled his hand into writing this intimate portrayal of love and death, both lost and found.
Trying to give a synopsis of the film is like trying to give the explanation of heaven and God. Spanning over a thousand years, the film tells three intertwined tales of love and our fragility of life in this world and the inevitable confrontation of it. Technically this film is an achievement on its own. Visually stunning from start to finish, the eclectic director who doesn't fail to surprise viewers or tap into something we haven't felt before like his previous works Requiem for a Dream and Pi; the film becomes so incredibly frustrating but at the end leaves you gasping for breath with its cunning, yet overwhelming finale.
In 1500 AD Hugh Jackman portrays Tomas, a conquistador searching for the tree of life that God banished from the world in order to live forever with his Queen Isabel played by Rachel Weisz. In 2000, Jackman plays Tom Creo; a medical researcher whom is exceptionally gifted yet cannot seem to handle to concept of losing his very ailing wife, Izzy. Izzy is very charismatic and wise in her thoughts and words and has begun writing a personal symbolic fable to her husband. In 2500, a very cosmic and Yoga-like time to say the least, Jackman is some type of being standing by a tree having several visions of Izzy and talking repeatedly to the tree.
Hugh Jackman gives his most impressive and broken performance to date. With his inner conflict and slow and steady realization of losing his wife, he shows us "Wolverine" has more talent than ever anticipated. He delivers us three authentic and genuine characters whose tortured souls are evident in their actions. Rachel Weisz is restricted and reserved in her portrayal of the two women Izzy and Isabel. As Queen Isabel she exudes the grace of any Spanish Queen in the 15th century, although how Aronofsky allowed her to keep her British accent but is a Spanish Queen is beyond me. In present time, her American accent is on point and she has the same on-screen presence that carries Kate Winslet in her films. Critics and average viewers are constantly comparing the two but they are two of our finest actors working today that resemble each other in structure and performance.
The idea that Aronofsky presented to the viewer was a thought provoking one, but not everyone will "get" nor appreciate the picture. The visual spectacles are a marvel but the carry through wasn't smooth rather than being dragged through a thorn bush, screaming "leave me alone, I don't want to know that badly." The best parts of the film are Clint Mansell's potent score that always adds to the aura of Aronofsky's films. The cinematography is authentic and unique in pulling us through but leaves a rather dizziness in the system. And of course, Hugh Jackman and Rachel Weisz seem perfect for their roles. The screenplay however lacks very poor character development and not giving us enough background to fall in love with the couples. The director keeps us at a distance and doesn't invite us into their devotion to one another. The Oscar-Crystal ball tells this critic that some technical nominations may be in order but none other with the critics entirely split down the middle. You will either hate The Fountain or want to drink from it until your pores seep of love.
Grade: **1/2/****