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‘Sky’ is the limit for visually unique film
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by Eric Rusch
Thursday, September 23, 2004
In weeks prior to the opening of “Sky Captain and the World of Tomorrow,” a friend had purchased a bargain DVD containing the entire collection of Max Fleisher’s Superman cartoons. A 1941 short titled “Mechanical Monsters” features a group of invading robots similar to the giants in “Sky Captain.” Watching the classic animation only fueled the excitement for opening weekend. Judging by the footage invading the television, it seemed that the unique film would either rise to the ranks of America’s most beloved films or it would be thrown into the depths of the cinematic landfill. It was impossible to conceive that something so drastically different could get trapped in between. If it were not salvaged by its spectacular visuals, however, “Sky Captain and the World of Tomorrow” would be a disappointing wreck.
Early in the film, director Kerry Conran establishes himself as a master of the screen. In his first film, he instantly proves he can birth an immense vision and nurture it through maturity. From the first shot of the New York City skyline, Conran brings the viewer eloquently into his world. The muted colors and digitalized sets mesh beautifully with the style of the living actors. Most people were initially resistant to the film’s daring mise-en-scene, but the computer rendering is only obtrusive in shots absent of actors. It is exciting to imagine how this new style will develop and what freedom it could give to the future of filmmaking.
Unfortunately, after the film’s awe wears thin, the viewer has very little to carry himself through its second half. Both the plot and the characters suffer from being uninteresting and slim. Some might criticize that Jude Law is poor as Sky Captain, but they would be mistaken. His problem does not stem from bad acting but from the fact that he barely has a character to play. Other than being a fighter pilot with a bad tummy, he ceases to exist outside of the narrative. I have been told that this is a convention of the genre and that the lack of depth is intentional, but a feature-length film should have more depth than a seven-minute Superman short. In contrast, Gwyneth Paltrow is consistently magnificent on screen. Her Polly Perkins is full of charisma and remains the most memorable performance.
If pulp fiction conventions are about adventure over character, the film should be brimming with excitement that never dissipates. “Sky Captain” begins on the right track but loses focus as it speeds toward the ending. It suffers from trying to do too much in a feature film. At the beginning, the film is about giant robots attacking a city, but eventually the plot loses focus through the introduction of other creatures. Maybe Conran felt he had to shove everything into one package since there is little hope for a sequel, but that is never a good reason to throw new elements into a film.
“Sky Captain and the World of Tomorrow” is altogether enjoyable, but it never reaches its full potential. On the other hand, my friend with the Superman shorts and a true fan of the genre is convinced that I “must be on crack” not to love this film. Sadly for him I am not. Looking at the film through eyes unclouded by genre fandom, “Sky Captain” has little more to offer than beautiful images and a brief illusion of excitement.
Grade: B/C
