The Fountain

THE FOUNTAIN
FOX
RELEASED 26 January 2007
99% of cinema releases tend to be something you’ve seen before. Bond, Pirates, Superman, endless computer-animations, unfunny comedies, horror movies that don’t scare. Even Scorsese’s ‘The Departed’ was a remake. The only movie of 2006 that truly felt unique was ‘United 93’, an absolutely gut-wrenching experience. Now 2007 has ‘The Fountain’, a rare gem in a sea of mediocrity.
Running at ninety-six minutes but covering 1000 years film time, we begin in 16th-century Spain, where conquistador Tomas (Hugh Jackman) commences his search for the Fountain of Youth, believed to grant immortality. As modern-day 21st century scientist Tommy Creo, he desperately struggles to find a cure for the cancer that is killing his beloved wife, Izzi (Rachel Weisz). Traveling through space as a 26th-century astronaut in a giant snowglobe spaceship, Tom is trying to keep the Tree of Life alive. You might have guessed that ‘The Fountain’ is a ‘big questions’ film!
Initially confusing, the plot clears as we discover how the three different storylines relate to each other. Director Darren Aronofsky (Requiem for a Dream) has made an unapologetically romantic, trippy movie that bears similarities to ‘2001’ in it’s ambition. If you’re willing to ‘go’ with the movies’ strange concept, I’m sure you’ll enjoy it immensely, but I can see others simply shrugging their shoulders. This movie won’t be for everyone.
Hugh Jackman creates a man on the edge in all three timelines, with his modern-day Tommy being the most tragic. As he struggles to save his wife, he realises he’s also missing the moments with her that may be the last ones he has. It’s a really emotional performance from Jackman, and together with last years’ ‘The Prestige’ I think we’re starting to see him steer himself away from safer roles. Rachel Weisz is good as Izzy, but the role of waiting for a fate that she has accepted a long time ago is a relatively simple one.
The cinematography (by Matthew Libatique) is astounding. The entire film is almost entirely composed of blacks (from the darkness of the Mayan jungle to the deathly walls of the Spainish Inquisition to the coldness of space), golds (Spanish jewellry to the laboratory lighting to the space nebulas), and whites (the sunlight in the Queen’s prescence to the snowing winter to the blinding glare of an exploding star).
The musical score by Clint Mansell would be an acclaimed piece of work whether it accompanied a film or not. Composed mainly of piano, cello and drums, there is a modern ‘Sigur Ros/Nyman’ feel to it that reaches into your soul.
If you like challenging films that dare to be different, this is for you.
FOUR OUT OF FIVE