One of the Best films ever made

Rating: 10/10 (29 November 2006)

It is rare in which a filmmaker presents us with a film that not only challenges our beliefs and feelings, but also how we look at film. Darren Aronofsky shows signs of becoming a filmmaker in the ranks of Stanley Kubrick. His films Pi and Requiem for a Dream showed us his prowess of presenting a relentless harrowing experience as if we were committed to the characters of the film. His films are about subtext, and they truly remember what too few directors realize today: film is an art form, not just a senseless montage of explosions and useless story lines (Michael Bay pay heed).
This film presented an experience of which I cannot compare. It speaks of transcendence for the sake of love. I heard a friend say that Aronofsky IS the next Kubrick, but only time will tell. The plain fact of the matter is this film is gorgeous from start to finish. The ending harrows that of 2001: A Space Oddesy in terms of pure innovation. Clint Mansell's beautiful score (brilliantly featuring heartfelt performances by both the Kronos Quartet and Mogwai) is the best I have heard this year. Matthew Libatique's cinematography is by far the best of the year. Very few times in my history of watching film and going to film festivals have I seen such beauty. There were many moments which I just stared at the screen literally in awe of the images I was presented with. I feel very torn on this film for one reason.
This year we have been presented with many fine films from established directors. The Departed, The Prestige, Babel, The Queen, Volver, and the Fountain are all beautiful in there own right. But it really comes down to only 2 of these films in true terms of best picture material. The Departed and The Fountain. The Departed despite being a remake of the amazing Hong Kong action film Infernal Affairs, establishes itself apart from its parent material by the performances contained within it and the re-imagining of the storyline. Scorsese is definitely in the running (in my opinion) for best director. While this film is brilliant, it shares the limelight (for anyone that is paying attention) with The Fountain. Hugh Jackman's performance single handedly keeps this film out of the gutter of artsy trash by showing you a man who is truly broken by his wife's predicament. Not only is this the single best performance by Jackman, it also ranks as one of the best of the year. Without this performance, the film quite simply would falter with anyone else in the role. On top of this fact is Aronofsky's directing ability. He handles his material with such love and tenderness for the sheer beauty of the medium of film. Too often in Hollywood directors are just trying to make a buck selling weak films that only establish itself on the scenes of violence or camera trickery they use.
Needless to say I personally recommend this film to anyone who is a true cinema lover. People who were raised correctly on the classics of film (1900-1970's). Not just flashy images from 1980-2000. The problem with this film for most American audiences is it is too high brow. It forces you to think and connect the pieces as to the man's fate (i.e. Goddard, Peckinpah, Lumet, Murnau, Hitchcock, Malick, and yes Kubrick), and not just accept what you are seeing. I witnessed many walkouts by the MTV generation used to the overstimulate nature of films today, and I pray that one day America can turn itself around and bring back true respect for celluloid.
See this film if you are ready to experience a film of passion and love for not only transcendental ideas, but also of the nature of film making itself.
Do not see this film if you have trouble with films like Baraka or Babel. I cannot state this enough that it is NOT a film for American movie going audiences, it is a film for filmmakers and lovers of cinema.
Never has a film affected me like this one. I sat stunned by it throughout the credits and couldn't talk about films for days afterward. Like 2001: A Space Oddesy, this film will be hated for ridiculous reasons, but by no means should critics get in the way of true film lovers.