Cinematic poetry; haunting and beautiful

Rating: 9/10 (11 April 2007)

There are many movies which the viewer leaves with a feeling of entertainment; their money has been spent on a pleasing distraction from the doldrums of real life. Then there are films which the viewer leaves with a sense of fulfillment, as if they have witnessed something meaningful or thought provoking, an intellectually stimulating passage of time. And then there are films such as The Fountain, which defy any sort of conventional description, transcending archetype and clichÃ©, and staying in the viewer's mind for months, even perhaps years afterwards.
In an age so depressingly soaked with more and more remakes, sequels and plots overdone to death, it is truly refreshing to take in a film so new, so unique, so poignant. The Fountain dares to overcome being a typically trite love story, and instead embrace themes so daunting and all encompassing few modern artists attempt to express them, such as meaning of life, the true value of love, the power of trust and belief. While these may come across as sap-ridden and over-glorified, rest assured that The Fountain handles its content in a truly intelligent and mature fashion. Because of the heavy subject matter of the film and the convoluted way its story is explained, do not be surprised if a second or third viewing is necessary to totally grasp all The Fountain is attempting to communicate. It may seem boggling or even downright confusing, but if the viewer simply accepts it as a cinematic poem, which even if not understood can still be appreciated for its obscure beauty, the film becomes much less alienating and the viewer marvels at the sheer scope of the film if nothing else.
Director Darren Aronofsky deserves mountains of praise for conceiving such an ambitious and remarkably inventive feat. While his screenplay may occasionally drift into being confusing or frustrating, with extensive use of stilted dialogue and cutting in between the story's three time periods, it never affects one's enjoyment of the film - there is far too much to appreciate going on for the occasional small irritation to affect. The film's visuals, if nothing else, are worth immense credit alone - never before have such dazzling effects, as well as brilliant cinematography, inventive, stunning sets and costumes been used to such superb effect. Aronofsky avoided using CGI effects for the futuristic sequences, instead superimposing microphotography of reactions in petri dishes, and it really shows how even in such a computer saturated world as today, stunning visuals can be created without spending millions on technological costs. As well as being one of the most philosophically daunting and thought provoking films of the decade, The Fountain also proves to be arguably the most visually sumptuous movie in recent memory. Clint Mansell's exquisitely moody score is similarly beautiful, and perfectly compliments the edgy yet beautiful tone of the film.
Hugh Jackman has been proving himself to be one of the most fearless, talented and charismatic actors of his generation, and he gives one of his strongest and most emotional performances to date. Playing three characters in radically different time periods simultaneously, Jackman captures our sympathies through his characters' mutual passion, drive and dedication - few other actors would have been capable of such a moving performance. Rachel Weisz, Aronofsky's wife, matches Jackman at every turn, delivering a mystical and captivating performance through each time period. Though the supporting cast is sparsely used, Ellen Burstyn stands out as a caring doctor in the twentieth century storyline, though the film unquestionably belongs to Jackman and Weisz, who prove themselves more than up to the task.
It is highly difficult to describe such a radically unique film such as The Fountain - the film stands out as one of the most visually inventive, philosophical and soul searching efforts in recent history, completely unlike anything most viewers are likely to have ever seen before. Yet at the core of it all is a simple love story, which is executed with as much emotional weight and tenderness as any of the grandiose themes surrounding it. Is The Fountain a perfect film? No, though the word is hard to describe and really an entirely subjective quality anyway. What the Fountain does offer is an epic story of love and rebirth, spanning generations and complimented by simply stunning visuals. Don't expect necessarily to entirely understand the film upon first completing it, but instead allow it to blossom over time until it can be fully appreciated and respected. In a day and age so starved of originality, The Fountain is worth seeing simply for proof that fresh and touching work can still be produced, and that from the depths of commercial garbage, beauty can still emerge.
-9/10