Ahhhh…remember 1999? It was sooooo cool to be a sophomore in college and watching movies, man…movies that spoke to my generation. The old people just didn’t get it. This was our time, and film was right there with us at the turn of the millennium saying, “Hey, ma! Look at us! We’re the first people to ever have these cool ideas!” Of all the trailblazing films that came out that year, there are two that stick out in my mind the most as having been born of the moment – the Wachowskis’ The Matrix and Tom Tykwer’s Run Lola Run. Both played with film convention while waxing about alternate realities and parallel lives, and at the time….THEY BLEW MY MIND. Unfortunately The Matrix begat two mind-bogglingly awful sequels that tarnished the legacy of the original, and as gimmicky fun as Run Lola Run was, it just never really held up all that well. Though I liked some of Tykwer’s later work (Perfume still has to be one of the strangest films I’ve ever seen and I was one of the few who liked The International), the Wachowskis completely imploded. And as it turns out, all of those cool ideas were just rehashed from previous cool ideas.
Now thirteen years later after they appeared to be the second-coming of cinema only to crash and burn, the three have teamed up and concocted a dazzlingly ambitious adaptation of David Mitchell’s self-proclaimed unfilmable novel, Cloud Atlas – a nearly indescribable film that will infuriate those who allow it to while it should please those desiring to return to the bygone days of 1999. So what do we talk about when we talk about Cloud Atlas? We’re talking about a return to the happier, care-free days of young adulthood where a film could espouse ideas from Philosophy 101, dress them up in epic special effects and new-agey concepts, and you would buy into it wholesale. We’re talking about ambitious, heart-driven cinema full of energy and moxy that almost careens off a cliff into mawkishness. We’re talking about a film about love, destiny, reincarnation, standing up to oppression, art and uncovering the truth of the universe and the meaning of life, or as one character would put it, discovering the tru-tru. We’re talking about a film that tries to be everything to everyone all at once.
Corkscrewing six disparate tales spanning hundreds of years and multiple continents, Cloud Atlas features genre-busting stories and a gender-bending all-star cast. The idea of actors and actresses playing multiple roles (and sometimes multiple races and genders) across multiple lives must’ve been something that spoke deeply to transgender filmmaker Lana (nee Larry) Wachowski, and the opportunity to play against type multiple times in the same film must’ve appealed to aging and increasingly marginalized award-winning superstars like Tom Hanks, Halle Berry, Susan Sarandon and Hugh Grant. Packed into the swollen but quickly zipping-by three hours are a period piece about slavery and poisoning aboard a ship sailing from the South Pacific, a doomed romance in 1930’s England focused on musical composition, a 1970’s set political thriller in San Francisco, a contemporary comedy about a publisher (Jim Broadbent) trying to break-out of a dastardly rest home in which he was imprisoned as a cruel joke, a dystopian Korean-set sci-fi opera about a fabricated woman (Doona Bae) rallying against society that was inspired as much by The Matrix as it was by Fritz Lang’s Metropolis, and a post-apocalyptic epic featuring tattooed cannibals and a top-hat wearing giant leprechaun with feathered fingers version of the devil played by Hugo Weaving (a villain spanning the centuries in various and sometimes hilarious forms) that was surprisingly my favorite piece of the lot.
Major credit has to be given to editor Alexander Berner, who in following the convoluted screenplay from the three directors, whips the ricocheted stories up into a Magnolia-esque maelstrom of genre-defying entertainment. The viewer is never allowed to stay in one story for too long, which works wonders for covering up some of the inherent silliness and clichés. Separated, only perhaps the two future-set stories could hold any weight and stand on their own, but woven together by coincidence, literature, art, music, repetitive themes and ping-ponging cast members in multiple roles, the stories sing…and I was surprised at how caught up in all of them I became (even the lame 70’s set thriller about journalism). As corny as some of the “love is a force of nature” and “we’re all interconnected” stuff became, I can’t deny I was transfixed for most of the time not only by the visual effects and sweeping scenery but also by the giddy game guessing which star was sporting which ridiculous make-up or over-the-top costume. And believe me, the make-up and costumes span the full spectrum of “WOW! What an amazing job!” to “WOW! What the hell were they thinking?”
I often find myself rolling my eyes at my 19 year-old self and the films I loved in 1999. But hey, man, they were entertaining and pretty cool at the time and you still have to admire the ambition of the filmmakers and the openness of the love my generation wanted to shower on them. I’m not going to lie and say I didn’t roll my eyes at some parts of Cloud Atlas, and while this type of film doesn’t speak to me on any deeper level anymore, I would also be lying if I said I didn’t find it to be a whole lotta fun. Some rare movies, like the most outlandish of old mythology tales told over and over across eons, are a trip, man…and Cloud Atlas is one of ‘em.
Written by David H. Schleicher