There is a scene in Gravity where the camera pans around two
astronauts in space for fifteen minutes in one single continuous take, then
goes inside the helmet of an astronaut, swirls around showing the suit’s UI,
and seamlessly pops out of the helmet. It’s at this moment where you realize
that in space no one can hear you scream but everyone in the movie theater can hear
you shout DAAYUUMMMNN.
Seven long excruciating years
after Children of Men, Alfonso Cuaron
is back behind the camera with some sort of vengeance to entertain the crap out
of you. For some reason Gravity is
being billed as a Sci Fi movie. It’s not. There’s no fiction here. Gravity is in fact a horror movie, and
it’s a masterpiece. There are no aliens here, but a very real, intelligent
disaster. Think 127 Hours in space, but
significantly more visceral, moving and immersive. Miraculously, it’s also 3D
done right – it really is an astonishing cinematic achievement and it’s the
only film I’d watch once again on a 3D IMAX screen. It’s also the only film
whose filming techniques would be as interesting to watch as the film itself.
So what’s different in Gravity given that there have been other
films about astronauts stranded in space? For one, Cuaron is a deadly
filmmaker, a shaman. He absolutely nails the staging and pacing of the film,
making it a 90 minute tense, dizzying, breathless experience. The detailing,
the digital effects work and the long, uncut takes will divorce your jaw from
the rest of your face. It’s not just one of the great CGI films of the decade but
one of the five greatest uses of CGI in the history of cinema. When James
Cameron was fawning over the film, he wasn’t kidding - Cuaron, Lubezski and
their special effects team really have crafted something extraordinary here.
Apart from using groundbreaking technology
like an LED box that’d change filmmaking as we know it, Gravity has a ‘believable’ disaster plot and a heroine who is quite
different from the stock scream queens that you expect from Hollywood. She is smart,
she has a reason to make us root for her, and more importantly, she’s heroic rather
than corny, ping ponging between her primal urge to survive the disaster and
her existential wish to stop trying. Sandra Bullock is terrific here, always
convincing, despite the green screen around her, holding the film on her own in
the vast emptiness of space.
There are some scientific
fallacies in Gravity but laws of
science can’t be questioned anymore seeing as Sandra Bullock broke them - she probably
went around the space time continuum and aged backwards, because she looks 30
despite being 50. Except for Clooney’s wisecracks the lines (written by
Cuaron’s son Jonas) are mostly pedestrian and simplistic, but not grating. One
thing that I actually found problematic was a scene where the heroine’s weakest
moment has a man saving her – it’s a tiny nitpick but it’s a little jarring to
see a strong female protagonist being rescued by the hero in a film built
around a strong independent female.
Regardless, all flaws of Gravity become infinitely smaller the
bigger the screen you watch it on. In IMAX the film is perfect, utterly faultless. Cuaron
clearly takes inspiration from video games with POV shots of Bullock’s
character shuttling from one space station to another. One first person sequence
where she changes her space suits and heads out to repair the damaged station is
straight out of Dead Space. If this
movie makes money, it’d have the potential for Hollywood to invest a bit more
into smart original movies than shameless 3D cash grabs. If you’re interested
in that kind of a future, you should buy your tickets right about now.
(First published in MiD Day)
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