Projekt Brainstorm

Anybody notice certain similarities 'twixt this film and the movie "Strange Days"? In that movie they have perfected a memory-recording device that can be played back on small tapes. Is "Brainstorm" so forgotten that nobody else has made the connection?

"Strange Days" was heralded for its originality, but some of us know better. People who are addicted to the tapes in "Strange Days" are called "tapeheads". I'd like to ask John Cusack and Tim Robbins if they think *that's* original.

Brainstorm is an amazing and beautifully crafted film, worth watching more than once. From the opening credits and the music that never quite resolves, it is one of those experiences that leaves one unsettled, but not untouched. The images, the stories, and the issues keep this film from succumbing to the temptation of being more science than fiction. The subtle performances and direction, although sometimes underrated, are intriguing and lend a sophisticated air.

Watch it as an experience rather than as a scientific treatise and you will surely have a great ride.

I first watched Brainstorm when I was barely a teenager and was fairly impressed, an impression that lasted to date. For the first time, I'd seen a movie where someone was presented with amazing options, and the movie actually covered everything I'd have thought of. Unlike in those flicks where someone would get three wishes and never would wish to get as many wishes as they wanted (or happiness ever after, or instant death, or whatever), "Brainstorm" explores all possible consequences of the introduction of new, ground-breaking options:

A team of scientists comes up with a way to *really* share experience, to let each other in on how they experience the eternal essentials; love, life, sex; even death. And then, it doesn't stop there, taking into consideration the dark side as well -- what happens if you share your pain as well? What happens if The Wrong People(TM) monopolize the Amazing Secret(TM) first?

I love this movie. It ties up eternal questions and hopes with fun F/X and combines them into a touching and thrilling plot that makes other movies (mostly of the "cyberpunk"-era) like "Strange Days" that exploit a similar theme seem anemic in comparison at best.

Douglas Trumbull's early attempt at depicting Virtual Reality in a film is a mixed affair, but remains fascinating. Its solid cast and good production values are somewhat let down by the muddled script and inexperienced direction (this was to be Trumbull's second - and final, Directing gig).

The film is caught in odd Catch 22 - much of its technology has been both long since been surpassed (the Mylar tape & laser show!), and, in other areas, not reached yet - true emotions and sensations transmitted via VR. As expected from Trumbull, the special effects are solid if not as spectacular as his work on 2001, BLADE RUNNER and CLOSE ENCOUNTERS. Originally conceived as a feature film test for his high frame rate Showscan process, Trumbull had to settle for 70mm and a wider aspect ratio for it's VR scenes. There is no question that true Showscan would have made for a more impressive visual experience, even if only in limited locations.

Douglas Trumbull is one of cinema's true visionaries, but a smooth accomplished Director he wasn't. As in SILENT RUNNING, the ideas and visuals outstrip his ability to do them full justice. Still, BRAINSTORM has more solid ideas than 99% of SF films even attempt. The film's love for Science, from the gadgets to the photos of Einstein, to the self-sacrifice of the wonderful Louise Fletcher, this is a movie that celebrates the world of knowledge. And, damn, Christopher Walken that off-the-wall even then!!?? Sadly, poor Natalie Wood looked very tired (her death during filming cast a pall over its release). Cliff Robertson is decent as the head of the experimental lab. Still, it is Fletcher who becomes the heart and literal soul of the production. Her Lillian Reynolds is an exceptional depiction of the dedicated scientist who lets no obstacle get in the way of her pursuits. It is because of Fletcher and the film's concepts that makes the film endure, whatever its flaws.

Brainstorm had a rocky road to completion. After Natalie Wood died before completion of shooting, the studio wanted to shut it down and cash in the completion bond. Trumbull had fought tooth and nail to get the film made to begin with, and when it looked like it would be snatched from the jaws of victory, he hunkered down and dramatically altered sequences to prove it could indeed be finished without Wood's unshot scenes.

The "recorded memory" sequences were even more vivid for us in Indianapolis who saw it at the Eastwood theatre. The Eastwood had one of the few curved Cinerama roadshow screens outside of New York and Hollywood's Cinerama Dome. Think of it as a smaller version of an Omnimax screen. Sitting in the front row, you were completely enveloped by the film, and the visual and audio effect when the "memory" sequences lit up were quite attention grabbing. Trumbull was at this time working on his ill-fated Showscan process for amusement park rides, and was very interested in audience perceptions of diffrent lenses and frame rates. Some of this is used in Brainstorm. It's just not the same on a TV set of any size.

The central core of the story - the recording of the death of Lillian and Michael's obsession to experience it - is a disturbing one, because it explores the very nature of life and death. It can satisfy or dissappoint, because Trumbull has put his vision of memory, experience, death and afterlife on film for everyone to take pot shots at. And they did. It's a shame, because the film is beautiful, thought provoking, and ingenious. Yeah, I know, it has all of that evil government plot boilerplate. Look past it.

(It even revels in the quirks of the researchers, showing the second thing everybody does with new technology is use it for porn.)