The third time is definitely not the charm for writer/director Darren Aronofsky. His latest film, "The Fountain," is an ambitious attempt to bring about questions concerning human life, death, and love, but the lack of focus leads the answers to these questions to be undeveloped and clichéd. The critical success of Darren Aronofsky's previous films, "Pi" and "Requiem for a Dream," seems to have gone to his head. "The Fountain" becomes a pretentious film. Aronofsky is clearly in love with his own unconventional style and "depth."
The movie intertwines three stories, abruptly cutting back and forth between the plotlines, all of which center on a love story between Hugh Jackman and Rachel Weisz. One yarn depicts Jackman as a conquistador during the Spanish Inquisition, sent by Queen Isabell (Weisz) to find the Tree of Life. The second story takes place during more or less modern times, in which Jackman plays a doctor, Tommy, with a dying wife, Izzi (Weisz). She accepts her fate, while he doesn't, desperately searching for a cure (with the aid of personality-free supporting characters). The third, and final, interwoven tale takes place in the future; Jackman is floating in a giant clear bubble through space to a distant nebula to discover the truth about life and death.
Aronofsky takes the audience on one trippy ride to an anticlimactic ending. It's never clear what is going on or if it is actually happening: Are the past and future just a story written by the modern Weisz? Are the modern Jackman and the future Jackman the same person? What is Jackman doing with that tree? Even if viewers think they've figured out parts of the movie, all of those thoughts are practically destroyed by an utterly confusing conclusion.
The overwhelming problem of the film is not the lack of a coherent narrative, but rather the absence of a strong, coherent message. To Aronofsky, it doesn't matter that anything make sense, it's just important for him to get his message across. Unfortunately, that message is nothing more than one you would find in a fortune cookie. He sets up all sorts of ideas regarding love, life, and death, but they are not as profound as he thinks. Trying to deeply cover those philosophical ideas in 96 minutes is something near impossible. Had Aronofsky focused on a single idea, he could have developed something significant, more insightful.
The love stories that the film depicts are missing the epic feel required for the film to truly work. Not enough time is devoted to developing characters and any sense of love between the major players. Swelling, melodramatic scores are instead used to supplement the missing developments, but cheesy music does not create a timeless romance.
Scenes are also repeated to emphasize crucial moments in the relationships of the characters, but this comes off more as an exercise in making the audience suffer than a stylistic strategy. Only the film's modern segment creates an intriguing love between the two main characters, although most of the intrigue is created by the fact that Weisz's character is dying. Without that, the love between the characters would have diminished. The pairing involving the two 16th-century characters doesn't even seem like love at all. Weisz's character is nothing more than a prize for Jackman to collect after a successful mission of finding the tree. Perhaps they were in love, but the severe lack of substance suggests otherwise — although more development wouldn't have helped much, considering the obvious lack of chemistry between Jackman and Weisz. Jackman's best acting is done when he isn't with Weisz, when he isn't forcing a connection with his co-star.
Visually, the film is stunning — but this is overshadowed by Aronofsky's unfulfilled ambitions. While he attempts to adequately describe the love between the two characters, he spends far too much time developing the appearance of the third tale. When the movie ventures into the future, the images and effects cross the line from stunning to downright ridiculous. Aronofsky's goal of a spiritual-looking future fails, it merely comes off as a cross between a yoga video and a blatant rip-off of "2001: A Space Odyssey." These special effects work against the film; they are cold and laughable, distancing the audience from ever becoming more involved with the story.
The most powerful images come from the simplest of effects, a close up of a kiss or white light that radiates from Weisz, have the strongest power to induce some sort of emotion in the audience. Aronofsky does know how to film Weisz, though, making her seem like the most beautiful woman in the world; considering that she and Aronofsky are engaged, he should be able to do so.
The only redeeming qualities of this film are Weisz and Ellen Burstyn, who plays a bit role as modern-day Jackman's colleague. Both actresses are able to bring a human touch to their underdeveloped roles, making the audience actually empathize with the characters. Of course, Burstyn is great in any role, while leading lady Weisz has more charm in her eyes and smile alone than the rest of the entire film.
Aronofsky has high ambitions, but falls significantly short of his goals in "The Fountain." It's strange that a film he has had in the works for about five years feels so rushed and fragmented. Perhaps with more focus, Aronofsky could have brought about a truly moving picture that actually leaves the audience pondering about the human condition. For what it is, it remains a mess of a film that collapses under its own self-importance. "The Fountain" tries to leave the audience pondering about life, death and love, but most will leave thinking, "WTF?"
Grade: 2 out of 5
