The Fountain (2006)

Director:

Darren Aronofsky

Writers (WGA):

Darren Aronofsky (screenplay)
Darren Aronofsky (story) ...

Release Date:

22 noviembre 2006 (USA)

Genre:

Drama | Romance | Sci-Fi

Frase comercial:

What If You Could Live Forever?

Plot:

Spanning over one thousand years, and three parallel stories, The Fountain is a story of love, death, spirituality, and the fragility of our existence in this world.

Plot Keywords:

Spain | Hinduism | Human Sacrifice | Terminal Illness | Spear

Awards:

Nominated for Golden Globe. Another 6 wins & 14 nominations

Comentarios de los usuarios:

Film is an artform and Aronofsky is a Picasso

US TV Schedule:

Mon. Aug. 4

12:00 PM

HBO

Cast

Hugh Jackman	...	Tomas / Tommy / Tom Creo
Rachel Weisz	...	Isabel / Izzi Creo
Ellen Burstyn	...	Dr. Lillian Guzetti
Mark Margolis	...	Father Avila
Stephen McHattie	...	Grand Inquisitor Silecio
Fernando Hernandez	...	Lord of Xibalba
Cliff Curtis	...	Captain Ariel
Sean Patrick Thomas	...	Antonio
Donna Murphy	...	Betty
Ethan Suplee	...	Manny
Richard McMillan	...	Henry
Lorne Brass	...	Dr. Alan Lipper
Abraham Aronofsky	...	Lab Technician
Renee Asofsky	...	Lab Technician
Anish Majumdar	...	Dr. Spencer

También conocida como:

The Last Man (USA) (original script title)
Fuente de la vida, La (Argentina) (DVD title) (Mexico) (Peru) (Spain) [es]

MPAA:

Rated PG-13 for some intense sequences of violent action, some sensuality and language. (edited for re-rating; originally R)

Duración:

96 min

País:

USA

Idioma:

English | Maya

Color:

Color

Aspect Ratio:

1.85 : 1

Sonido:

DTS | Dolby Digital

Clasificación:

UK:15 | Brazil:14 | Switzerland:14 (canton of Geneva) | Argentina:13 | USA:R (original rating) | South Korea:15 | Hong Kong:IIA | Peru:14 | Sweden:11 | Ireland:15A | Germany:12 | Netherlands:16 | Finland:K-13 | Australia:M | Switzerland:14 (canton of Vaud) | UK:12A (edited for re-rating) | USA:PG-13 (edited for re-rating, certificate #41776) | France:U | Finland:K-18 (theatrical release) | Portugal:M/12 | New Zealand:M | Singapore:PG

Filming Locations:

Cité du Cinéma, Montréal, Québec, Canada

Company:

Warner Bros. Pictures

Trivialidades:

In early 2002, writer/director Darren Aronofsky cast Brad Pitt and Cate Blanchett in the central leads of Tom and Izzi with a budget of $75 million. During pre-production, Pitt and Aronofsky were having major creative differences, so Pitt left to film Troy (2004) instead and the film was shut down. In early 2004, with a smaller budget of $35 million, Aronofsky cast Hugh Jackman as Tom and Rachel Weisz replaced Blanchett as Izzi. Ironically, Pitt and Blanchett played a couple in a film that was released just before this one (Babel)

Quotes:

Tom Verde: [looking at 500+ tattoo rings on his arms which count the years since Izzy died] You pull me through time.

Movie Connections:

Featured in The 64th Annual Golden Globe Awards (2007) (TV)

Film is an artform and Aronofsky is a Picasso

How very sad it is when a great film is spoiled by an ending that simply isn't in-tune. Darren Aronofsky received the Visionary Award 2006 at the Stockholm Film Festival where I watched 'The Fountain', which should serve as a mark of his momentous, earth-shatteringly beautiful visions in breathing life into a universe dependent on the delicate cycle of life and death. It is not until the ending, however, that the film abandons all other components and overdoses on the latter.

But first let me recap the dizzying storyline. The Fountain spans across 1000 years of time, opening in the gritty dark jungles of the Mayan civilization, cutting to present day America and ending in a golden bubble in space (no, really). These three parallel stories are sewn together by Tom's (Hugh Jackman) odyssey to save the woman he loves (Rachel Weisz) from cancer. In many ways, the present-day story is the film's central element and the other dimensions the mere windowdressing, and arguably fantasies from the book Izzi is writing. Nevertheless, the latter are among the most absorbing, especially the grueling trials of the Spanish inquisition in the 1500s.

It is no wonder the aforementioned plot is so whacked-out because Darren Aronofsky means that 'The Fountain' should not be analyzed as a story, but enjoyed as an experience. To facilitate this experience he embellishes with lush iconic stills by the bucketload, often in the form of aerial shots from the ceiling looking down at its characters. There is in this way a dramatic symmetry in the buildings, arches and scenery. You truly just want to snap a picture of each scene, frame it and hang it on your wall. The colours are unspeakably vivid and the vast visions form a world unto itself – an indescribable experience that welcomes you into dreamy dimensions and takes and shakes you. My audience sat speechless and tear-eyed.

It is true that The Fountain is mostly cinematography (a kind of 2001), but it is no "vacuous" film. For one, it is emotionally compelling not only owing to its visuals but also its cast. Tom/Tommy/Tomas is a demanding role for Hugh Jackman to inhibit, but he captures the struggle of his character aptly. Rachel Weisz, too, is appropriately emotive and likable in the story. Togethery they have bubbling chemistry that creates mesmerizing magic, although with splashes of melodrama. The latter can best be attributed to the faltering dialogue that sometimes contains more corn than Kellogg's. This shortcoming is however far from a fatal one (since the film is anything but dialogue-driven) and between the meaningful glances, the expert navigation of the parallel dreamworlds and the epic score, The Fountain stays afloat with assured direction.

Until the end, that is. Here the dreaded hubris kicks in and Aronofsky realises he has already gone down all kinds of ambitious paths in the film, and compensates by applying the 'big, bigger, epic' formula. There is, in all fairness, no perfect way to sew The Fountain together because it has been so out there for so long. I will not spoil the ending sequence for you, mostly because all I can remember is a vague blur of explosive golden crescendo. The fine line between poignant and over-the-top corny along which the film has treated throughout suddenly shakes and The Fountain tips over into... simply too much of everything, completely overdosing on furious flair.

In conclusion it must be said that I truly do think that Aronofsky has created something unspeakably beautiful here. The Visionary Award is perfectly earned and cements his position as one of the most interesting new directors. Aronofsky cites Werner Herzog's "Aguirre, the Wrath of God" and Sergio Leone's "Once Upon a Time in America" as key influences for The Fountain and indeed much of the former is present in his film. Watch it and absorb the lush cinematography and explicit emotions – don't dissect the story.

7 out of 10