Directed by:
Alejandro González IñárrituScreenplay:
Guillermo ArriagaCinematography:
Rodrigo PrietoComposer:
Gustavo SantaolallaCast:
Sean Penn, Benicio Del Toro, Danny Huston, Naomi Watts, Carly Nahon, Clea DuVall, Charlotte Gainsbourg, Claire Pakis, Eddie Marsan, John Rubinstein (more)VOD (3)
Plots(1)
College professor Paul Rivers and his wife Mary find their union precariously balanced between life and death. He is mortally ill and awaiting a heart transplant, while she hopes to become pregnant with his child through artificial insemination. Cristina Peck, having matured since her reckless past, is a beloved older sister to Claudia, a good wife to Michael and loving mother to two little girls. Her family radiates hope and joy. Much farther down the socioeconomic scale, ex-con Jack Jordan and his wife Marianne struggle to provide for their two children while Jack reaffirms his commitment to religion. A tragic accident that claims several lives places these couples in each other's orbit. In the aftermath, Paul confronts his own mortality, Cristina takes action to come to terms with her present and perhaps her future, and Jack's faith is put to the test. If spiritual equilibrium is to be regained by any one of them, it could come at great cost to the others. Yet the will to live, and the instinct to reach out to another person for support, remains ever present among them all. (Focus Features)
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Reviews (10)
Another Iñárritu version of Amores perros, but this time with Hollywood actors. I still don't feel any particular connection or empathy for the characters that one might expect given the structure of the story and the escalating situations they go through. In short, 21 Grams is another example of manipulation of feelings. You need to subject the heroes to absolute suffering, then entangle and connect the stories, and then increase the suffering. That's what it's all about - about suffering, about denying yourself, about finding a way out. There’s too much violence in proportion to one meter of film.
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I hate to say it, but I really didn't like this movie. It has a pretty simple story that is only intricately told to make it look more interesting, I feel it rather hurt the film. I found the flashbacks very hard to navigate, even more so when the film is so terribly boring, slow and not to mention emotional. Sean Penn's worst role yet. For me, a waste of time and all that hype even gave me a headache.
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A superb example of postmodern cinematic narrative – Iñárritu breaks the chronology of the story into small pieces and composes its narrative from these pieces. He does not tell a story in the traditional sense, but forces the viewer to co-create it in the spirit of postmodern narrative, to be a kind of second authorial voice. Unlike Anderson's Magnolia, however, he goes even further in the deconstruction of the story – ignoring the rules of conventional space-time and serving the viewer a meddling of plots that are not anchored by the unity of time and place. The result is a riveting narrative form that prevents the perceptive viewer from tearing his eyes from the story, from missing the plot. The experience of the film is enhanced by the way it is captured - the handheld camera indulges in neurotic tremors and unpredictable movement the way Trier does it. All this is approached by excellent work with a soundtrack in which monotonous sound surfaces appear at key moments in addition to natural sounds, amplifying the emotional experience even more. Alejandro González Iñárritu is a true master of modern dramatic form, although from my subjective point of view his formal brilliance lacks the immediacy of experience and intimacy that is characteristic, for example, in the works of Lars Von Trier. Something even more absorbing. A subjective experience. Perhaps the fact that I felt that I was unnecessarily one step ahead in uncovering the plot... Otherwise – praise for the acting performances (I don't know who is the best, but probably the riveting culprit Benicio Del Toro wins after all), for the script, theme and inconspicuous music. 21 Grams is one of the best films about guilt, punishment, forgiveness and compassion that can be seen today. It definitely belongs in my TOP 3 for 2003 right next to Burton's Big Fish and Sofia Coppola's Lost in Translation.
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This is an example of how an untraditional approach to narration serves only as an effective gimmick to turn a film into something more interesting than it actually is. I’m quite surprised at how many people say that 21 Grams is very emotional, I think it would be almost impossible to deal with a similar topic in a colder way.
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The moodily gritty, gloomy, shaky camerawork reinforces the realism of the world depicted in 21 Grams. The chronological disjointedness of the plot comprising three individual, interlinked stories promotes consideration of the composition of connections. The stories were originally supposed to play out sequentially, one after the other as in Amores Perros, but the director chose a more “chaotic” variant. This whole formalistically ambitious work follows the emotional suffering of the characters and is triumphant as a result. It is both interesting and emotionally compelling. However, it isn’t entirely successful. It’s not a brilliant jigsaw puzzle with an unmistakable distribution of conflict points (Memento), because it DOES simply feel like the scattering of the various plot lines was unnecessary and is only an attempt to turn silver into gold. Nor is it a devastating emotional explosion (Magnolia), because although the director avoids sentimentality (which is fine), he shies away from unrestrained, cruel baring of human intimacy (which is a shame) in the manner of Lars von Trier, who strips his characters of their clothes and has more respect for them.
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Gallery (43)
Photo © 2003 Focus Features
![21 Grams - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/166/114/166114454_95bea2.jpg)
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