An inspired article in an over-expensive, mostly uninspired, era of cinema.

Rating: 7/10 (16 July 2007)

Darren Aronofsky, through his long and tedious struggle to bring his most cherished script to the screen, had accumulated some serious hype around what would eventually become 'The Fountain.' Just under seven years from its conception in the mind of the film's young leader, Aronofsky's richly imaginative story of everlasting love, biblical symbolism, mortality, and boundless metaphysical possibilities hit the Cannes Film Festival with divided acclaim.
'The Fountain' starts with a 16th century Spanish conquistador named Tomas (Jackman), who appears to have come across a hidden temple, which rightfully rests amidst the thick ripe foliage of the jungle's core. Subsequent to the slaughter of his miniature battalion, Tomas fights his way through a heavy pack of temple guards, then climbs a steep slope of stairs to reach his desired pyramid's peak. Upon scaling the tall side of the lost temple, the film takes a spontaneous turn into a world of wondrous nothing, where we find a clean-shaven Hugh Jackman in an ecospheric-like bubble, floating toward a golden nebula in the vast realm of outer space.
Just before the film could possibly become any more confusing, it swings back to a present day world, where oncologist, Dr. Tommy Creo, has been sleeplessly perusing the potential effects of the contents of a tree in Guatemala, which could stop the continuation of cancerous tumors and rejuvenate their victims. Of course, what would this "love story" be without the dying, cancer-stricken wife to motivate the tormented scientist-husband? The premise of the flick, being as dubious as would potentially seem, never reaches a melodramatic staleness; in fact, it prospers from its simple, yet intricate, story of undying love. In little time, 'The Fountain' saves itself from disaster, as it finally comes together, piece by piece, and finishes an open-minded work of art, rather than another box-office blunder. Aronofsky's intentions envelope in the thoughts of each viewer, as the journey closes with doors that remain open; and do so in a semi-satisfying quest to provoke questions and lengthy discussions with all movie-goers who shared its viewing.
The positives of the picture bask in their gorgeous surrealism, and flow through viewers with poetical sage. Captained by its veteran actor, Hugh Jackman, and supported well enough by Academy Award-winning actress Rachel Weisz, the ostentatious ship of visual wonders that was 'The Fountain,' succeeds as a summer trip to the movies with its unmatched creativity and fine direction; from the only director who could have pulled off such an inspired article in our over-expensive, mostly uninspired, era of cinema. To unleash one's intellectual inventiveness is to see 'The Fountain;' dismissing any flaws in film-conception and appreciating where it all came from.