Cosmópolis

I had a drink and slouched down on the leather seat in the corner, and after a while I never wanted to leave. So private, so peaceful, so safe. I need a limo in my life.

Cosmopolis is a meeting of geniuses. It is a masterpiece. A combination of a genius writer, a genius director and script writer and a genius actor. Shake and stir and we get Cosmopolis; the kind of high quality movie we rarely get to see made, a movie in a genre of its own. A deep, intellectual, intense story with heart. A movie that hits you deeply and stays.

Don DeLillo's fantastic story; with such philosophical depth, such insight into the human mind and the world we live in. A metaphorical limo ride, a life condensed into a day. The life of Eric Packer.

David Cronenberg and his team; creating the world Eric lives in and bringing the story to life in the best of ways. David's sensitive and precise way of filmmaking, providing the needed creative space for the actors and delicately capturing their performances on camera.

Robert Pattinson, immersing himself into the complex character of Eric Packer and giving a mind-blowing performance. The brilliant mind, the intensity, the never ending curiosity, the impulsiveness, the constant hunger in every way, the inner fears, the burdens, the restlessness, the excessive need for control, the combination of growing old too quickly and still being so young. His impatient voice, trying to restrain himself and wait for others to catch up. The people coming and going in his life, as mirrors to who Eric is and where he is heading. The journey to get to know himself, to realize what life is all about and what makes it worth living.

An amazing movie. A movie that will go down in history as an example of filmmaking at its best. A masterpiece.

***

What is life? What is a life?

days, nights, coming, going

people you know, or don't

things happening, or not

stuff you do, stuff you know, or not

you bring all you can

play by all the rules

success, accomplishments, possessions, then what?

is that it?

there has to be more

otherwise, what's the point?

***

Young billionaire Eric Packer (Robert Pattinson) decides to take his stretch limo across New York City for a haircut. Along the way he conducts business, meets friends, family and acquaintances before being mobbed by anarchists and confronting someone who has malicious intent to harm him. This film reminded me of a good Shakespearean play; I only understood about half of it but enjoyed it a lot. There are long elongated stretches of duelling dialogue which are spoken in a half alien language of metaphors and double meanings. The word 'this' takes on new meanings and is used in – it feels like – almost every sentence. Much like a Shakespearean play there are odd comic moments and in keeping with Director David Cronenberg's cannon, brief scenes of extreme violence. These few instances ignited some of the more drawn out and dare I say duller scenes to keep the audience on tenterhooks. Despite these flashes this wont be a film for everyone and a man next to me in an early afternoon screening fell asleep while a couple on the row in front left about half way in. Robert Patz' character reminded me a little of Michael Fassbender's in Shame. Both felt like they were on a path to destruction which they both sort of wanted or at least drew themselves towards. R-Pattinson defies the advice of his security to actively search out trouble and seems to show no emotion in doing so. In fact there is very little emotion in any scene and the whole cast seem to live in a world of robots. Sarah Gadon plays Robbie-P's wife as an android with almost no movement or signs of feeling. Equally The Robster's bodyguard played by Kevin Durand is focused solely on his employer's safety and shows no signs of living in a world outside of the film. This and also the cinematography lead me to wonder if the film was set inside a dream. It certainly had a dreamlike quality to it. Pattinson is surprisingly excellent in this film, playing a character that is sealed off from the outside world in such a way that he barely notices when it is crumbling in front of him. He has stoicism and magnetism that is rarely matched on film. As I said a couple of paragraphs ago I didn't understand a lot of what was actually going on. There is a lot of financial talk and discussions on a metaphysical level which went over my head. None of this stopped me enjoying myself though and I only felt bored once, in a long scene featuring Rob-Patz and Paul Giamatti. The scene was livened up though by a wonderful creeping score which slowing increased in volume as the tension racked up as well as a short sharp burst of violence. This film definitely won't be for everyone but I do hope hordes of young Twilight fans go and get bitterly disappointed and confused. Personally I thought it was very good but felt perplexed at times. Unlike the source novel the ending is slightly ambiguous which I felt was a good thing. This is a film I'd recommend to hardcore Cronenberg fans and anyone who doesn't mind having to think a little but if you're only interested in Rizzle-Patz cos' he's super hunky then stay away.

Cronenberg's Cosmopolis is an adaptation of Don DeLillo's novel. The Novel is accepted as unfilmable an as one of the few novels which composes a precise image of our zeitgeist. The movie is not just based on Cronenberg's clever written script that could be a marvellous play for theatres but also a well directed movie with a talented cast and gets the audience into the atmosphere of a Japanese surreal anime. Nonetheless the movie is a marketing mistake of its kind. The negative reviews that emphasis the main actor Robert Pattinson's ex-sanguine performance are not to understand, since he is exactly as vampire as his character Eric Packer, a 28 years old egoist with a lot of money. However the reason of the box-office flop can be understood. First reason is the difference of target groups: It is possible that neither real Cronenberg fans (because of the poster of Pattinson on the foreground) nor Pattinson fans (since it's not a teenage movie) had the intention to see the movie. Second reason is he wrong advertisement: The audience watches an action trailer but finds out it is a Japanese surreal anime. This masterpiece of art proves us that even sci-fi legend David Cronenberg can flop on box-office.

Eric Packer, a 28-year-old billionaire asset manager, crosses the city of NY in his limo to get a haircut.

All great artists, in this case, directors, have a bad work, and for me, this film is a splinter impossible to remove in Cronenberg's career.

There's no story here to follow, the dialogues are empty and sometimes pretentious, without substance that can be extracted from them, leaving the message of political and economic criticism completely distorted.

The characters have no soul, I simply couldn't connect and create empathy with them.

The photography made me scratch my head and thinking "why you did this?", I didn't see any credible reasons for using so many close-ups shots, or the sly CGI in the limo scenes.

Even Robert Patinson cannot save a scene from this film.

Reviews thus far have not mentioned Carl Jung, the psychoanalyst, or how Cosmopolis can be interpreted as a dream using Jungian symbology. Cronenberg's previous movie was about Freud and Jung, so it is no artificial stretch to assume that he would apply Jung to a story, or that De Lillo had also done the same.

In Jungian dream analysis, the limousine can be taken as a metaphor of one's self, one's course in life. Each visitor to the limousine ought to be considered an aspect of the occupant's personality, each separate and distinct. There is the intellectual who has been hired to "do theory,"the young one who has been hired to find patterns, the nervous security expert who has tested for system vulnerabilities, the visiting prostitute (profane) who is asked to help obtain "the chapel" (sacred). Each character represents an aspect of a single self. Throughout the journey to get a "haircut," (which is a Wall Street term for taking a loss), the outside security chief relays messages from "The Complex," which might be interpreted as the unified self.

I think this is clearly what Cronenberg intended. The fuller meaning of the movie resides in how the dream reflects the actual world, how it fits with the shared reality in which we all participate. How does this simple journey to get across the city reflect the pleasures and perils of existence? Can we really know the world, or can we only know ourselves? How is the main character a representation of the whole world, which has a kind of self, too? Does the ending of the movie reflect an outcome that is metaphorically plausible as an integration of macroeconomic, political, human forces shaping history?

Cosmopolis is an intellectual work, carefully crafted, and not at all pretentious, as some have said.