The Fountain

The Fountain is a look at three parallel fates that intertwine and diverge, all of which ultimately result in the final recognition and discovery of the truth. Darren Aronofsky was, is, and will continue to be an expert on the intricacies of cinematic plot, and The Fountain is another prime example. All three stories intertwine so strongly and yet so easily that sometimes you don't notice where you are at first. There are a number of issues being dealt with here, with the question of life and death standing out above the rest. In terms of direction, this film is quite solidly handled, and I must also single out the great cinematography (which is characteristically strange for Aronofsky's films) and virtually all the visuals, from the effects to the editing to the production design. And last but not least, the likeable leading couple of Hugh Jackman and Rachel Weisz, who had great chemistry. In short, a film that will probably ring true in different ways for each of us at the end, but in terms of quality, it's an above average affair. (04/30/2011)

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. (04/16/2007)

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. (01/29/2008)

The work, which completely defies any categorization or evaluation. What I saw is indeed a masterpiece, which is unique and will probably remain so forever. Darren Aronofsky created a work that redefines cinematography and that the current audience is not yet prepared for (as evidenced by minimal box office receipts in the US and a disastrous distribution strategy here). You can take The Fountain as a captivating romantic drama about sacrifice, help, and hope, as a charming philosophical work that, however, does not try (as some mistakenly believe) to find the meaning of life, but shows the path to immortality and in the end, you can only look at it as a brilliantly directed, wonderfully acted, and fascinatingly music-accented experience. In a few decades, future generations will envy us that we could see it in the cinema and finally appreciate it. (04/12/2007)

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… (09/06/2008)