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No surprise here. 2001: A Space Odyssey tops the list of my top five transportive science fiction films with its extraordinary vision that more than lives up to the title of its third chapter, “Beyond the Infinite”. 2001: A Space Odyssey takes the viewer from the dawn of humanity to the birth of a new species, an odyssey few films approach. What makes 2001 top of this list is that it expresses its themes and makes its claims in a specifically cinematic way. The plot is simple, but ideas of humanity and identity, destiny and our place in the universe are all presented through cinematic techniques of image and sound. The opening and closing chapters are entirely without dialogue and remain cinematic touchstones, the stargate sequence one of the most exquisite pieces of cinema I have ever seen. The middle section portrays space travel as both wondrous and mundane, the production design detailing the mechanics of space travel and the logistics of weightlessness and docking. HAL is a definitive example of artificial intelligence, a clear influence on MUTHR in Alien as well as Blade Runner’s replicants. Furthermore, thanks to this film a single red light shall forever be menacing. Despite the detail given to spacecraft and inter-planetary travel, 2001 never explains too much (over-explanation being the major flaw of the film’s recent descendant, Interstellar), relying instead on suggestion and ambiguity. The film maintains a mystery and opacity much like the black monoliths, which is a common feature across the films that constitute this countdown. How human are the replicants in Blade Runner? What is the reach of Eywa in Avatar? What do the extra-terrestrials want in Close Encounters of the Third Kind? How did the alien ship come to be on the planet in Alien (the explanation in Prometheus notwithstanding)? Mystery abounds in 2001 but not to the point of frustration, as enough is suggested by Stanley Kubrick’s precise alignment of production design, cinematography, editing, sound effects and music to give the viewer a sense of what is going on, while leaving enough ambiguity for us to wonder, and indeed, wonder at the majestic mystery of what we behold. After nearly fifty years, 2001 remains the greatest journey undertaken by the sci-fi genre and an unrivalled cinematic landmark.
The penultimate film in this countdown of my top five transportive sci-fi films has some similarities with a previous entry. Like Close Encounters of the Third Kind, Blade Runner transports its viewer to a sci-fi environment on Earth with suggestions of the beyond. Unlike Close Encounters, however, Blade Runner is far from a hopeful dream of a journey that we can envy, but a dystopic nightmare of a grim world in which hope, equality and life have been largely devalued. At the same time, it is a hypnotic and mesmerising vision with a haunting, otherworldly beauty. That the presentation of something so bleak could be so beautiful is testament to Ridley Scott’s superb direction, Jordan Cronenweth’s gorgeous cinematography and Lawrence G. Paull’s exquisite production design, as well as Vangelis’ melancholic score. Blade Runner’s Los Angeles is the gloomy city of film noir turned up to 11, with enough rain for an Indian monsoon and enough filtered, neon light to accentuate the expressive mise-en-scene of sets, costume and performers. The combined effect of these cinematic features is to transport the viewer to this city of the damned, in what may be the most detailed and (chillingly) plausible dystopic landscape ever committed to film. Many sci-fi films predict the future. Blade Runner seems to get parts of it right.
The third film in my countdown of top five transportive sci-fi movies gives the most overt attention to transporting the viewer (although it is not necessarily the most successful). Avatar creates a tangible, tactile environment that immerses and surrounds the viewer, an environment that took me far beyond the cinema in which I first saw it and continues to do so across repeat viewings. It is a literally awesome film in the sense that it fills me with awe with its extraordinarily rich and compelling vision of an alien planet and the experience of exploring it along with the protagonist Jake Sully (Sam Worthington). Nor is this experience of Avatar simply down to the 3D, as I find the film immersive and absorbing on 2D home viewings as well. This effect is partially due to the remarkable production design that details the geography, flora and fauna of Pandora, as well as the film’s vibrant visual style that thrusts the viewer through these gorgeous but also dangerous environments. James Cameron has always been an intensely visceral director, from the relentless pursuit of The Terminator to the collapsing environment of Titanic. In Avatar, the director’s visceral and absorbing style takes the viewer into a world that is both alien and familiar, showing us what we know in a new light and creating greater appreciation of our surroundings beyond the filmic world itself.
As a completely unofficial tie-in with the British Film Institute’s science fiction season, Days of Fear and Wonder, I’ve prepared a countdown of my top five science fiction films that transport the viewer to fantastical environments. At its best, science fiction can be the ultimate cinema experience, as it creates another world and takes you to distant places and times. These are not necessarily the greatest science fiction films of all time, but they are all films that take the viewer on a remarkable journey. The next few days will feature a countdown of my top five transportive science fiction films, beginning with…
Star Wars (1977)
The cultural impact of Star Wars can never be over-estimated, and for its time it was an extraordinary piece of groundbreaking cinema. While I do not find it particularly transportive and its script and direction is ropey in many places, it remains an undiluted thrill ride through a far away galaxy, a long time ago. Contact (1997)
Contact’s journey is as much about travelling into the heart and mind as it is about a journey to a distant world. An intelligent science fiction film that explores humanity on Earth while also reaching out to the stars. Solaris (2002)
Steven Soderbergh is a great utiliser of editing and cinematography, which sometimes collapses into irritating style for its own sake. In the case of Solaris, however, the discontinuous editing takes the viewer both into a grieving mind and to a strange world where time, memory and reality blur together and nothing is what it seems. WALL-E (2008)
One of Pixar’s finest films conveys both the ghastly isolation of an abandoned Earth and the expansive wonder of space. One is gloomily familiar and the other a source of inspiration and beauty, best demonstrated in the space dance sequence between WALL-E and EVE. But perhaps most importantly in WALL-E, the journey to the final frontier is not only transportive but transformative, as humanity, led and inspired by little robots, returns to the Earth that is our home. Interstellar (2014)
The most recent entry and a convenient release for the BFI’s season (Coincidence? Unlikely). Fear and wonder populate Christopher Nolan’s sci-fi epic: fears include the horror of ecological devastation as well as the vacuum of space, balanced with the spectacle of Saturn as well as spherical worm holes and alien landscapes. Interstellar echoes earlier films such as 2001: A Space Odyssey, Silent Running and Contact and, while it sometimes tries too hard to explain everything, it remains a breathtaking journey into the infinite.