The Fountain

When highly stylistic filmmakers span their career out over decades, it brings an awe of anticipation to an anxious audience. This is very true of fans of the work of Darren Aronofsky. In 1998, he broke into the major film scene with his highly stylized black and white psychological thriller Pi. Two years later, he makes an even larger scene with the success of his film Requiem for a dream. Six years go by before he steps up to his writing debut, directing a visual masterpiece, The Fountain.

Tommy (Hugh Jackman,) a present day scientist is working on the cure for cancer. His fight against time causes him to press forward despite other medical breakthroughs. He begins to ignore the basics of scientific discover, and neglects the one thing most precious to him: his wife (Rachel Weisz.) Split into three storylines (past, present and future,) Thomas/Tommy/Tom all fight to save the one thing most dear to them: their love for a powerful and special woman Isabel/Izzi. The past Thomas searches for the tree of life in Middle America; the present Tommy uses special plant extracts to fight cancer; the future Tom flies through space towards a special nebula in search of a dying star.

One of the strongest aspects of this film is its masterfully chosen cast. This film relies on the love story between the two, regardless of what time period it takes place in. Rachel Weisz proves to be the perfect fit for a woman captured by love, and content with her worldly situation. Her quiet demeanor and soft features add endless layers to a powerful and heartbreaking story. Completing the perfect casting, Hugh Jackman plays both a rugged and dedicated conquistador, and a scientist hell-bent on solving a seemingly impossible task. Together, these two very skilled, very aesthetically pleasing duo proves to be the perfect selection for this film. Both actors illustrate the power over their craft in minimalist roles.

Together with well executed acting, went well executed directing. I’ve not seen a more visually powerful film in years, both in fictional computer rendering of space travel, and of general lighting within structures. The entire film has a golden yellowish tint, which adds very well to the general aura feel of the film. Facial highlights bring us even closer to every emotion each character is feeling, be it loneliness, despair, regret, or love. Aronofsky is a huge fan of facial close-ups, and certainly this film is not lacking in that department. Both Jackman and Weisz have enormous face-time in this feature; surprisingly, it works amazingly well. We are brought closer to a couple’s love story by a thorough examination of each character, be it through their dialogue, of visual expressions.

Much like Requiem for a dream, The Fountain is complimented by a very minimal soundtrack. Played mostly by soft strings, the soundtrack gives the film a very soft yet threatening feel. Time always seems to be running out, despite a somewhat lack of imperativeness. The film presents a very philosophical motif, and represents it well throughout. What if we are able to grant eternal life? And if so, what would we do with that time? What would we search for? And how far are we willing to go to find the answers.

But when you break the film down to its very core, it’s a film about love. It’s a film about two people and their power throughout history: in the past, present and future. This film feels like 2001: A Space Odyssey, or perhaps even closer, Solaris. When seen from afar it appears to be about a grander plot, of time, and power. But down to its seams, it’s a story about a man and woman, and their passion to fight all that keeps them apart.

It’s an art film, so know that going in. It’s not going to have that usual Hollywood smell to it, so if you’re into explosions or fast paced action, this might not be the film for you. It’s a character study, so be ready for character! I left liking it more and more as time went on. 7.75 of 10.