Charlie's Review of The Fountain

Rating: 10/10 (27 March 2008)

"The Fountain" is Darren Aronofsky's visual poem about life, death, eternal life, love, obsession, hubris, belief, fear, and truth. If this strikes you as a lot to deal with in the context of one film, you're right, it is. Nonetheless, I have never seen a director present this much profound thematic material in a more artistic and economical fashion than what Mr. Aronofsky has accomplished in this film. For only having directed two previous films (the excellent "Pi: Faith in Chaos", and the harrowing yet brilliant "Requiem For A Dream"), it is amazing that Darren Aronofsky has already proved himself to be one of the best artists working in the medium of film by creating a provocative, balanced work that demands as much of an intellectual response to it's themes as it does an emotional one.
In his third, and most mature work yet, Aronofsky uses the idea of "the fountain of youth", along with the imagery of "the tree of life", to meticulously establish the theme of humanity's desire and journey to find the means of achieving eternal life. Aronofsky, who is scrupulous in his design and composition of every shot (one of the elements of his approach to film making that merits strong comparisons to Stanley Kubrick), infuses the film with recurring imagery of circles and rings that articulate the theme of eternal life and (with the use of a wedding ring) eternal love. This repetitive structure in the film also allows the movie to generate an emotional sensation from the audience that is more analogous to the effect poetry creates, opposed to the resulting sensation produced by a narrative. It is this daring decision by Mr. Aronofsky that makes this film so unique, as well as so misconstrued by critics and audiences alike.
"The Fountain" introduces the audience to three characters, all played with superb power by Hugh Jackman, and who all bear a variation of the name Thomas. The central persona of the three, or at least the character that functions within a world that the audience can most readily identify with, is Tommy Creo- a doctor trying to discover a cure for cancer, ultimately to save his wife who is dying from a brain tumor. The last name "Creo" is similar to the Spanish word for "I Believe". This is an interesting connection, not only thematically, but also because it links this modern day "Tom" with the other character Jackman plays, Thomas- a Spanish Conquistador in search of the Fountain of Youth. The third semblance Jackman takes on is Tom- an explorer of the stars who is traveling through space in the 26th Century with a tree (the Tree of Life?) that he repeatedly eats the bark off of; an action which Aronofsky clearly associates with the Christian practice of the Eucharist. This trinity of Thomas's is driven by their love, or obsession, with Izzy or Isabel, played luminously by Rachel Weisz. All three "Toms" are seeking to find a way to overcome the reality of death and live eternally in their love with this woman. The sequence of events that take place around these characters function as an emotional catalyst that propels the characters and themes toward a breath- taking montage* sequence which delivers a climax that presents many questions and answers that will require each person who views the film to interpret and understand the symbols, events, themes, and characters with whatever worldview or experiential framework they bring with them when they see it. This allows the film to change and grow with every viewing, as well as with each new viewer. Herein lies Aronofsky greatest achievement with this film. The postmodern foundations that permeate the entire film, as well as it's poetic nature, makes it possible for anyone to bring an interpretation to the film that is representative of the viewer's background, and yet still be a valid elucidation of the sequences that occur within the film. Aronofsky's inventiveness in creating this type of philosophical and poetic vision makes "The Fountain" a work of art that can be clearly felt by anyone who can cope with its logical elusiveness.
"The Fountain" also boasts a transcendent yet melancholy score by Clint Mansell that saturates the film with even more emotional complexity. The cinematography by Matthew Libatique is another amazing achievement that portrays a visual motif of golden lighting and textures that seems to direct the viewer to contemplate man's lust for gold and the material world. This film only grows stronger the more I see it, so for those who have yet to experience "The Fountain" here is your invitation to discover "the road to awe".