The Fountain (Widescreen Edition)
by Darren Aronofsky
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DVD Cover Information
Actor: Ellen Burstyn, Hugh Jackman, Mark Margolis, Rachel Weisz, Stephen MchattieDirector: Darren Aronofsky
Brand: Warner
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 5.1; English (Subtitled); Spanish (Subtitled); French (Subtitled); English (Original Language), Dolby Digital 5.1; French (Dubbed), Dolby Digital 5.1
Format: AC-3, Closed-captioned, Color, Dolby, Dubbed, DVD, NTSC, Subtitled, Widescreen
Picture Format: 1.85:1
Running Time: 96 minutes
Published: 2007-05-01
DVD Release Date: 2007-05-15
Audience Rating: PG-13 (Parental Guidance Suggested)
Model: 28376
Studio: Warner Bros. Pictures
Product features:
- Yesterday, today, tomorrow. Past, present, future. Through time and space, one man embarks on a bold 1000-year odyssey to defeat humankind's most indomitable foe: Death.Hugh Jackman plays that man, devoted to one woman (Rachel Weisz) and determined to protect her from forces that threaten her existence. His quest leads him to a Tree of Life.and to an adventure into eternity. Darren Aronofsky (Pi,
Movie Reviews of The Fountain (Widescreen Edition)
Movie Review: In Awe of Death: Aronofsky's "The Fountain" is a film for the ages.
Summary: 5 Stars
After 6 hotly anticipated years, acclaimed director Darren Aronofsky's sprawling sci-fi opus "The Fountain" has finally hit the big screen. What may be disconcerting to many of Aronofsky's devoted fans is the barrage of negative criticism that the film has already received. If cinematic history has proven one thing, it is this: motion pictures that suffer from numerous delays and rescheduled release dates often meet a sad and miserable fate. "The Fountain" has passed through the murky waters of production hell (Brad Pitt and Cate Blanchett extricated themselves from the project due to the confusing script), budget cuts (production funding was reduced from a substantial 85 million to a meager 35 million), and critical lambasting (the film was purportedly booed off the screen at Cannes) to find its place and hopefully its rightful audience. Many film buffs and enthusiasts are now forced to ask a series of fiery questions: Was "The Fountain" really worth the wait? Is Aronofsky an overrated joke of a film director, destined to become nothing more than a contrasting footnote in Cinema History textbooks of the near future? Those who haven't yet viewed the film may already be disenchanted, but this reviewer is pleased to report that he has never been happier to be so confused by such adverse critical reaction. The reason for this is simple: "The Fountain" is anything and everything but a messy, disjointed cinematic garbage heap.
It's easy to understand why most audiences could be (and likely will be) turned off by "The Fountain" and its demanding plot. The film's structure is by no means conventional (the segmented tales constantly merge with one another instead of unraveling in a traditional linear fashion) and the metaphysical imagery is bound to be misunderstood by viewers who don't exactly process visual metaphor and symbolism with the greatest of ease. The plain truth is that "The Fountain" is not an action-adventure flick, but rather a challenging piece of cinematic art. Hollywood has done such an effective job of cramming gigaplexes with chainsaw-wielding maniacs and computer-generated animals that the average filmgoer may have trouble approaching anything that may be in opposition to the norm. It is very uncommon for art films to be applauded because modern audiences are generally not prepared or conditioned to appreciate them. These comments are not meant to be slanderous judgments, nor does this reviewer adhere to the title of condescending snob who thinks the average filmgoer stupid for walking away from a film like "The Fountain" in a state of angry befuddlement. The reviewer is simply trying to sympathize with the perplexed and the uninitiated.
As for that demanding and convoluted plot, it goes a little something like this: "The Fountain" is separated into three different tales that periodically weave in and out of one another. The first tale is set in the 16th Century and centers on fervent Spanish conquistador Tomas Creo (Hugh Jackman) and his tireless quest to discover the mythical Tree of Life, which supposedly exists in the heart of New Spain (aka Central America). Queen Isabella (Rachel Weisz) lives in constant fear of usurpation by The Grand Inquisitor (Stephen McHattie) and believes that the life-prolonging sap of the legendary tree will give her the strength to maintain control of the monarchy. The second tale takes place in 2006 and revolves around brilliant neuroscientist Tom Creo (Hugh Jackman) and his quest to discover a cure for the brain tumor that is steadily consuming the life of his beloved Izzi (Rachel Weisz). Much to the chagrin of his friend and fellow researcher Dr. Lillian Guzetti (Ellen Burstyn), Tom chooses to obsessively pursue his scientific endeavors instead of accepting the inevitable result of Izzi's debilitating condition. The third (and most visually stunning) tale unfurls in 2500 A.D. and centers around zen-like cosmonaut Tom (Hugh Jackman) and his journey through space to reach Xibalba, a nebula that was once revered by the ancient Mayans as a gate to the afterlife. His transportation device is a spherical craft that houses The Tree of Life as seen in the conquistador tale. As if this setup wasn't already strange enough, Tom is constantly haunted by visual projections of both Queen Isabella and Izzi as he hurls ever forward to his cosmic destination.
As the film progresses, a multitude of mysterious questions arise: Is "The Fountain" meant to be perceived as a continuous story of one man's thousand year pilgrimage through time and space? Is each tale meant to be viewed as a detailed visual metaphor for each corresponding story? Is "The Fountain" trying to say something about the mysteries of life or evolutionary transmutation? The reviewer would be doing himself, Aronofsky, and any potential viewer a great injustice by revealing the answers to these various questions. What the reviewer will state is that "The Fountain" is not so much an exploration of life as it is a fascinating treatise on mankind's fear and avoidance of natural laws, notably that of death and decomposition.
And yet, underneath the thick layer of this predominant philosophical leaning, "The Fountain" manages to ballast itself as a poignant and deeply moving romance. Even viewers who may feel battered and bruised by Aronofsky's cerebral switch-hitter of a storyline will likely be brought to tears by his depiction of the tragic purity of Tom and Izzi's emotional connection. There is a beautiful scene where Tom makes love to Izzi in their bathtub that seems a bit too perfect to transpire without dire effect. Since Izzi is afflicted with an inoperable brain tumor, it is easy to guess what that dire effect may be. The consequences of this event reverberate in Aronofsky's tale of the future. It is here that Tom's obsessive and seemingly foolhardy actions become a testament to the immutable grandeur of an undying, everlasting love.
Some critics would say that a love story is only as good as the actors who carry it. Well, as good as Rachel Weisz's is (and she is admittedly top notch), the intriguing love story ultimately succeeds as a result of Hugh Jackman's award-worthy turn as the three leads. It is quite easy to see why Jackman is considered to be one of the finest stage actors of his generation. Portraying three different characters in one film is difficult enough for any professional actor, but his command of each is at times so profluent as to appear almost effortless. The span of his emotional range is impeccable: Tomas the conquistador is reckless, courageous, zealous and fiercely loyal, while Tom the neuroscientist is doleful, tormented, restless and impossibly determined. These various qualities braid together in the form of Jackman's futuristic cosmonaut who discovers that real transcendence is the act of facing death itself, emotionally shattered and delusional as a result of his troubled past and present position. Every moment is convincing due to Jackman's obvious affection for the material, his passion deeply felt through every tormented glance, every emotional outburst, and every stream of teardrops.
In addition to the weight of Jackman's incredible performance, "The Fountain" boasts one of the most unique and mysterious film score compositions heard in quite some time. Aronofsky worked with composer Clint Mansell and his accompanying Kronos Quartet on "Requiem For a Dream", an ominous string and synth-based musical outing that somehow seemed more disturbing than the film's imagery. Mansell has taken a big step forward this time around by combining his efforts with those of the Scottish cult band Mogwai. They supply a generous amount of piano, drum beats, and out-of-tune guitar riffs to give "The Fountain" a more exotic and cabalistic resonance, the end result being a far more visceral musical experience than it otherwise may have been. Audiences will feel this film score creeping around inside of them more than they will actually hear it. The music could almost be considered experimental were it not so masterfully realized.
While the subject of mind-blowing originality is still hot on the plate, a few things should be mentioned about the wondrous look of "The Fountain". Maybe the Academy of Motion Picture Arts and Sciences should create an honorary Oscar for Best Utilization of Visual Effects for films such as this. At no point during "The Fountain" does Aronofsky use his special CG and micro-photographic environments to further the installation of whizz-bang action scenes or bombastic explosions. At their worst, these mesmerizing sequences could be considered high-class ocular candy. The splendor of these effects-laden scenes is only further enhanced by cinematographer Matthew Libatique's incessant use of burnt yellows and ethereal hues. These dominant colors primarily seem to represent emotional decay and spiritual grace while simultaneously bolstering the thematic moods of life, death, and transformation. These combined aspects give the film a very distinct and immediate visual profundity that just doesn't seem to exist much in the world of modern cinema anymore. More simply, "The Fountain" is one of the most beautiful looking (and most artistically rendered) films ever to grace the silver screen.
With so many positive things to say about "The Fountain", one may wonder why it received such a negative reaction from mainstream critics. Most of these critics claimed that "The Fountain" is simply too difficult to comprehend, that it is more of an arduous task than an enjoyable film experience. Another widespread critical complaint is that Aronofsky's tale of the future only succeeds in making the storyline more confusing than it was to begin with. Possibly, but this reviewer begs a question: "Where has the spirit and beauty of artistic interpretation gone?" What's amazing about "The Fountain" is that the viewer can interpret the various tales in a number of different ways. This makes every successive viewing not only more interesting, but decidedly more enlightening. Most critics are only allowed to see a motion picture once before writing or giving a review. If they had watched "The Fountain" a second time, maybe their perception of the film would be slightly different.
Contrary to popular belief, "The Fountain" is not "a noble, shipwrecked folly (Ty Burr, The Boston Globe)" or a "plodding, existential muddle (Dehzda Mountz, E! Online)", nor is it a "bold attempt by a young filmmaker to cram everything he knows onto the screen at one time (Roger Ebert, Chicago Sun Times)". If anything, "The Fountain" is proof that Darren Aronofsky is one of the finest and most refreshingly intelligent filmmakers of his generation. With a mere three films under his belt, one can only imagine what this wunderkind will accomplish next. "The Fountain" is one of the most fascinating and powerful science fiction films since "2001: A Space Odyssey" and is consequently the absolute best film of 2006.
FINAL GRADE: A+
Summary of The Fountain (Widescreen Edition)
A man embarks on a thousand year odyssey in a quest for the Tree of Life and to protect the woman he loves.Genre: Feature Film-Action/Adventure
Rating: PG13
Release Date: 4-SEP-2007
Media Type: DVD
Science fiction and romance collide in The Fountain, the ambitious third feature from director Darren Aronofsky (Pi, Requiem for a Dream), who labored for four years to complete this epic-sized love story that stretches across centuries and galaxies. Hugh Jackman and Rachel Weisz (Aronofsky's real-life companion) play lovers in each of the film's three settings--16th century Europe and America (Jackman is a Spanish explorer searching for Incan magic), the present day (Jackman is a doctor attempting to cure his dying wife), and the 26th century (Jackman is a space traveler seeking a gateway to the afterlife)-?who struggle mightily to stay united, only to lose each other time and again. Aronofsky may not have chosen the easiest presentation for audiences to absorb his theories on the lasting qualities of life and the transformative powers of death-?the final sequence, in particular, with a bald Jackman floating through space in a bubble, harks back uncomfortably to "head movies" of the late '60s-?but his leads have considerable chemistry (and look terrific to boot), which goes a long way towards securing viewers' hopes for a happy ending. Critical reception for The Fountain has been nothing short of bloodthirsty, with Cannes audiences booing, but there are elements to enjoy here, even if the premise throws one for a loop. Ellen Burstyn (who earned an Oscar nomination for Requiem) delivers a typically solid performance as Jackman's boss in the present day sequence, and special effects (most done without the benefit of CGI) are also impressive given the film's low budget (spurred by a mid-production shutdown after original stars Brad Pitt and Cate Blanchett ankled the picture). And science-fiction fans whose tastes run towards the metaphysical (Asimov, Le Guin) will appreciate the attempt to present the genre in a serious light. --Paul Gaita
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