It takes a while to get into the flow of Interstellar, Christopher Nolan’s latest film odyssey. But that’s not a problem because with a running time of 2 hours and 49 minutes you don’t need to be in a hurry. Mr. Nolan combines a number of narratives and even more visuals into a celestial maze of chaos and hope that holds the survival of human life in the balance.
The story opens as Cooper, played with an easy intensity by Mathew McConaughey, is working his farm somewhere in rural America. It’s set in a world ahead of today and the climate, or blight as it is called, has infiltrated our atmosphere and has been systematically killing off all the food even as it grows in the fields. Things have become so dire that just about all that can be grown now is corn. Cooper lives with his son, Tom and daughter Murphy (Murph). Cooper was a pilot and I think an astronaut, but we don’t get a clear picture. He is a widower and relies on his father-in-law, Donald, played by John Lithgow to help raise his kids.
Murph is a bit of a prodigy and Cooper is an engineer; both are off the IQ charts. The space program has been shut down and funds diverted to trying to solve the food problem, so farms are the new “caretakers” of the future of human existence. Cooper turns his skills to making the farm equipment run autonomously with computer programs and sensors.
One day the field equipment goes haywire and they all head back to Cooper’s house and stop. This the first clue we get that magnetism and gravity will play a very large role in unraveling this interesting weave of a story. Murph claims there’s a ghost in her bedroom and indeed when a super dust storm comes through, a message is spelled out on her hardwood floor. Mr. Nolan has bridged us into an M. Night Shyamalan movie for a few moments. Common, everyday images and goings on, but very much askew. Quickly he moves on.
In a wonderful sonic transition we are launched into space with Cooper commanding the Endurance with three scientists on board, including Ameila Brand (Anne Hathaway). I have always been fascinated at how many people are not fans of Ms. Hathaway. In my opinion her performances are both fragile and strong, and she comes through once again. An interesting debate at a cocktail party might be who was the best space woman; Ryan Stone from Gravity or Amelia Brand. I know Ripley is seething right now. Despite a brief sidetrack, Brand, not unlike Ryan, finds herself being thrust into the role of keeping the mission on track, no matter what.
The Endurance mission is a follow up to the Lazurus Project, which years ago sent brave souls through a wormhole to investigate a number of potential planets on the other side for human colonization. Endurance was to also navigate through that same wormhole and then determine which planet or planets they should visit to see what their previous explorers had found. They are looking for a new earth. Their findings would be radioed back where Ameila’s father, Professor Brand (Michael Caine) could analyze the data. He was preparing to make something quite amazing happen.
Murph has grown up, now being played by Jessica Chastain, and has turned her intellectual skills to helping solve the larger problem of re-colonization. She has teamed up with Professor Brand and they feverishly and tirelessly work to make his theory real.
As you can imagine, a variety of events occur on the mission and a significant amount of time has passed. The Endurance flight members are caught in a time warp thanks to the physics of the wormhole. One minute on the planet they first explore is equal to seven earth years. Things become more dire on earth.
Writing much more would require a spoiler alert notation, which I am always reluctant to do because I prefer my readers see the films. So I’ll leave the story and subsequent details about the ending here with one additional thought. Professor Brand recites a poem written by Dylan Thomas as the Endurance mission breaks through the gravitational pull of the earth.
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.Wild men who caught and sang the sun in flight,
And learn, too late, they grieve it on its way,
Do not go gentle into that good night.Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
The technical aspects of the film are nothing short of astounding. From earth to space to the wormhole to the depths of the horizon of a black hole known as Gargantua, our eyes are transported to new worlds. Cinematographer Hoyte Van Hoytema has lensed a work of art. Mr. Van Hoytema brought us the deep digital look of Her last year and has now propelled film beyond escape velocity into a new dimension. One could compare his work to 2001: A Space Odyssey. The lights of the wormhole for example. Perhaps it was a homage.
The climax before the climax is fascinating. Mr. Nolan dips us into a condensed world. One where everything exists at all times. All realms of existence available in a single life moment. This story push makes us think harder while at the same time helping us believe what we are seeing. It helps us accept the core of the story.
Hans Zimmer’s score at times also evokes 2001, but he was challenged to score earth, space and a a third dimension wrapped in a dimension that already had five layers. It works, but the visuals overpower the score.
Highly recommended to those with a mind as open as the vastness of space and time.
Les Misérables has been told countless times since Victor Hugo gave us his enormous novel. I uncovered over 50 small and large screen versions with only modest effort. Even Orson Welles tackled it on radio in 1937. Les Misérables is probably best known in contemporary times as a musical that began onstage in Paris in 1978. Within two years it opened in London and then became a fixture of the American musical where it still plays over two decades later. I saw it in 1987 in New York.
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