Directed by:
Darren AronofskyScreenplay:
Darren AronofskyCinematography:
Matthew LibatiqueComposer:
Clint MansellCast:
Hugh Jackman, Rachel Weisz, Ellen Burstyn, Mark Margolis, Stephen McHattie, Fernando Hernandez, Cliff Curtis, Sean Patrick Thomas, Donna Murphy, Ethan Suplee (more)VOD (2)
Plots(1)
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. (official distributor synopsis)
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Reviews (13)
A visually stunning spectacle with a perfect music score. The Fountain is a beautiful film whose main idea is not hard to grasp, but if I want to fully understand the story itself, I will have to watch it at least once more. Hugh Jackman and Rachel Weisz (who here looks almost supernaturally beautiful) deliver excellent performances, as does Aronofsky in the director’s chair. I’m going to get Pi and Requiem for a Dream…
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Questionable in every possible direction. At its core, The Fountain can be a simple and straightforward film, it doesn't need any hidden and shocking twist, but getting through its hard and intellectually difficult shell was beyond my abilities. Rachel Weisz is only here for decoration and all the acting skills are demonstrated solely by Hugh Jackman, who delivers the best performance of his career so far. Throughout the entire 96 minutes, he is literally filled with emotions, something that cannot be said about the film. Touching and personal passages are followed by heavily uninteresting and deafening “WTF” scenes, during which you can hardly believe what is actually happening. In terms of visuals, it’s definitely immensely interesting, but plot-wise it’s quite confusing (the question is whether intentionally), and in terms of whether the film expresses something, it’s hard to describe. I am of the opinion that Aronofsky has prepared a confusing mix of philosophizing, an equation without a precise result, letting the viewers, take whatever they deem appropriate. Some are enthusiastic about the outcome, others disappointed.
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Aronofsky pissed everyone off when he got 35 million for this metaphysical and overly personal project and had it hyped as a blockbuster. It's not a film I would normally rate with full marks. I'd forgotten what else to go to the cinema for. The English-speaking Spaniards and the occasionally slightly careless artistic patents in the narrative need a tune-up. Of course, the film's finale is visually and sonically (Clint Mansell rolls like a pig) so... final. That after finishing it, you're left with exactly the feeling that should follow the film. PS: I don't know of a film that uses publicity so effectively for reconstruction.
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The Fountain is certainly an indescribable cinematic experience. It is about expressing oneself in relation to questions that have plagued humanity since the dawn of history, through a mix of an esoteric visual poetry that combines Kubrick and Tarkovsky. It has to be approached on the level of feelings rather than in a classic way. The structure of the narrative is strikingly similar to Romain Sardou's novel “The Spark of God", but who cares if it works so well here. But not perfectly. After the end, I was left with a hard-to-define feeling that I could have just seen something great and quite exceptional, if only the creators had managed to convey this experience (or perhaps “journey" in the case of The Fountain) inwardly to the fullest. Therefore, Aronofsky's magnum opus does not deserve the highest rating after the first viewing, but perhaps I will eventually amend my rating in the future. If only because I just can’t get The Fountain out of my head. ♫ OST score: 4/5
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From the very first minute, Aronofsky bombards the viewer with an audiovisual whirlwind (a proven collaboration with cinematographer Matthew Libattique) that the senses are unable to take it all in at first. Searching for a cure for the disease called death is an incredibly gripping (the plot), at once cathartic (the form) and especially perfectly intimate (the partnership) spectacle that demands multiple viewings to be fully absorbed. A surreally powerful piece of cinema that manages to grab you by the emotional strings with its mysterious medievalism, the mystical relationship between man and the tree of life, and the dull reality of today. A must for all cynics who see contemporary cinema as too pale.
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