The Fountain

Tomas searches Mayan country, seeking the legendary tree of eternal life that offers him the chance to free his captive queen. A medical researcher pushes the bounds of professional ethics as he attempts to extract a natural cure for his dying wife. A traveller in deep space attempts to make it to a dying star wrapped within a nebula in order to spend eternity with his destined love.

The Fountain got mixed reviews when it came out for a short cinema run in the UK. Perhaps understandably because, although he is hailed by some, he is dismissed by others. So far my experiences have seen me fall into the middle ground as Pi didn't totally win me over the way it did others but I did find Requiem for a Dream to be as impressive as I had heard. So I came to the Fountain unsure of what I would find and not sure if I would like it or if I would struggle with how impenetrable the ploy summaries and comments did make it sound. At first glance it does seem this way because the link between the three stories (and the nature of at least two of the them) does make it seem like a concept to be cracked and pieced together. I do think coming at it like this will only lead to frustration. It is my belief that the modern section is real and that the other two exist within the book – this explanation helped me as it allowed me to focus on the emotion and themes within these sections rather than trying figure out the exact narrative reason for a bald man inside a spaceship that looks like a bubble.

By doing this I was left with a film that I found interesting from start to finish, with the theme of movement from life to death and perhaps rebirth being one that was explored visually as much as it was in the material. To say it like this does run the risk of making it sound corny but rather, with this approach, it does work really well, layering ideas and themes to awesome effect. The central relationship holds the film together and, although some have criticised the other two threads as weaker, I personally saw them as being as much of the main thread as the main scenes were themselves. I was surprised by how touched I was at points and found myself watching a sci-fi with an intense human story running throughout it (or vice versa – I'm not sure).

Some have said that Aronofsky's style as director is a bit cold and distant from his subjects. Technically I agree with that, which is why the performances are all the more important here. While the camera may not be about the heart, the performances must be and accordingly we get a pair of tremendous performances from the two stars. Jackman dominates the film. It must have been difficult to find his character in the midst of so many effects and concepts but he does it and, while you can see a lot of effort is being put in technically in some scenes, he never loses the focus on what he is trying to do. Weisz has less time and less of the material but she does almost as well – really connecting with Jackman and making her acceptance of transition seem convincing – something I saw as key in the delivery. Burstyn has a small role, while famous faces such as Thomas, Margolis, Curtis and Suplee provide solid turns even if their time is limited.

Although he is cold as a director there is no doubting that Aronofsky is a skilled director with a great creative force. His control of the theme across the film sees Libatique producing a wonderful control of light that I cannot even begin to comprehend how he created what he wanted and managed to capture it on film. The space sequences will catch the eye most but I was just as impressed with the use of light in the present-day scenes as the use of distant light, being just out of the light etc was an excellent visual extension of the theme.

As I expected, on the surface of it this is not an easy film to crack and, although not inaccessible, it is understandable why it didn't rip in a massive mainstream audience. However at its core it is a simple and touching tale, that is cleverly expanded thematically across the bookend threads. While the director and talented crew seem to focus on the technical delivery of the themes, they are matched with a masterful turn from Jackman – meaning that the emotion is right there the whole time, holding us in a story that is inventive and technically impressive as much as it is human.

Such a beautiful film that goes so, so deep. For me, it was a truly spiritual experience to watch this film again after 8 years. The images are beautiful, unique and the thousands of match cuts connecting the film's inner spiritual layer with the real life of the characters (in a non-linear manner) is just sublime. For me, this is poetry and a beautiful testament to love, pain, life - and the never ending cycle of life.

...and here I shall attempt to review what will one day be a classic in the hopefully near future. The Fountain is many things. It's a touching film. It's not long, though, clocking in at around 80 or 90 minutes, but it does manage to pack in enough emotion to out-do every single lame, candy-assed Hollywood romance ever created, or almost. More movies should cut down their running times like this; because there is not a wasted moment in The Fountain from start to finish, despite the movie still moving at an gregariously slow pace. You won't find any blitzed, seizure-inducing cut-and-paste editing scenes here, and there are no epic explosions and battle scenes either. What you will find, though, is an entire treasure trove of realistic passion and jaw-dropping emotion, and that's the strong point of this movie. Nothing here feels contrived or derivative or fake at all - this is a story of a woman with a lot of love in her heart and a passion for life in general, and a man who would do anything to preserve the same love for all eternity. That's the Fountain.

The Fountain is a simple movie. While at first it's repertoire of lazily abstract images and slow plot construction may seem intimidating and might even turn off the average moviegoer, a deeper voyage into The Fountain's layers reveals something not hard to comprehend at all. I mean, honestly, this film is a love story at it's core, there are no mind-bending plot twists and secret meanings. It's just a passionate, intricately woven romance about how far a man would go to let his love live on forever. If you're looking for super slick plot twists and drama, then look elsewhere, because The Fountain is not your typical modern flick at all. As I said, average moviegoers probably won't be able to get into this one. It's just too abstract and weird, and I won't blame anyone for disliking it on the basis of it's obvious inaccessibility. But regardless, the shimmering majesty of this movie is evident to those who are willing to try and find it. It's clear after the film sinks in - The Fountain is a straightforward and simple film disguised by multiple layers of artistic refinement and glorious imagery. Oh, it's not all clear cut for you, there is one other sticky point for some people - the fact that The Fountain takes place in three different time-spans all at once, weaving them together into a rich, complex tapestry of master-class storytelling. Yet somehow, despite the winding complexity of it all, The Fountain remains a pretty basic story once you get your head around it's eccentricities. Simplicity and complexity go hand in hand here to create a plethora of beauty and sorrow, a perfect oxymoron.

There's a very deep, broad contrast between the beautiful simplicity of the film's plot line and the absolutely jaw-dropping grandeur of the special effects and graphics utilized here. The directing here is through the roof, and the cinematography on display here is probably amongst the five or six best from any movie I've ever seen, if not the very top of the goddamn list. Just watch the last few minutes of the movie, and you'll understand. One of the things I really love about The Fountain is that it's beautiful and touching without trying to be anything it isn't. It's an honest film, and it does everything it wants to do effortlessly and flawlessly, with graceful, sweeping movements that etch a stunning caricature of rich, luscious aesthetics into an otherwise simple story. Marvelous.

"TheFountain" is a story tackling three different time periods. Tomas (Hugh Jackman) is a 16th century Conquistador on a bloody hunt though a hidden Mayan temple to retrieve sap from the mythical Tree of Life for his queen (Rachel Weisz), who is desperate for immortality. In 2005, Tom (Jackman) is a doctor frenetically searching for the cure to cancer to save the life of his wife Izzi (Weisz), who is in the final throes of her battle with death. Five hundred years later, Tom travels through space on a quest to reach the place of tranquility that Izzi spoke fondly of, using the Tree as a device to get him to the answers he needs to rest his weary mind....

In performances that can only be described as exquisite, Jackman and Weisz assist their director in opening up this knotty story through their soulful and romantic interpretations of desperation and peace. Essentially playing one lost soul, Jackman foams with remarkable anguish as he performs three separate interpretations of duty, handing in career-defining work. Weisz is the face of love in "The Fountain," lending the film a flowering emotional core of the film.

The Fountain" is masterful on so many unique levels, presenting a demanding filmgoing experience that should elicit a grand sense of awe on an emotional and spiritual level unlike anything you've seen this year.

Aronofsky has out done himself again....

It is essential to let go of needs and allow for something new, something more peaceful, to take its place. The main issue for people is not to advocate any specific worldview or philosophy, but rather to show that death is natural to life and something that everyone has to face. It is when people find some way of reconciling with mortality that they can fully be present and not be too worried about the world around them. Our lives are brief and are at the mercy of forces beyond our control, which can suffocate consciousness and delude people into falsehood.