Scan and Pan
Thursday, January 11, 2007
Children of Men
Earth, 2027. No children have been born since 2009. While most of the world has collapsed into chaos, Britain has survived as an authoritarian state with sharp class divisions that uses brutal methods to keep refugees out. Theo, an activist turned low level bureaucrat, is kidnapped by an alleged terrorist organisation called the Fishes, only to discover that his ex-wife, Julian, is its leader. They use a financial inducement to convince Theo to obtain a travel permit for a West African refugee girl named Kee. When Theo travels with Kee and members of the Fishes because the permit requires his presence, the car is attacked by an apparent mob of bandits and Julian is killed, forcing them to turn back. Soon Theo discovers that Kee is pregnant and the Fishes want to use her for their own purposes, leaving it up to him to get her safely to a ship from the Human Project while avoiding both the Fishes and the government.
Director Alfonso Cuaron (Y tu Mama Tambien, Harry Potter and the Prisoner of Azkaban) carefully crafts a dark, visceral vision of humanity's possible future in great detail. There isn't a single frame or scene out of place, and it's by turns thought provoking and thrilling. There's so much detail in the background that it might take repeated viewings to see it all. Cuaron and screenwriters Timothy J. Sexton (Live from Baghdad), David Arata (Brokedown Palace, Spy Game), and Mark Fergus and Hawk Ostby (writers of the upcoming Iron Man and John Carter of Mars films) make significant changes from James' novel, but as someone who loved the novel I think the changes all work to make the film relevant to contemporary audiences by skillfully including themes of terrorism, immigration, and environmental degradation into the narrative. As such, it reflects the possible future of our reality better than a literal adaptation of the novel could have. It's both a cautionary tale and a thriller, but it's also firmly grounded in the human drama.
Cinematographer Emmanuel Lubezki (Y tu Mama Tambien, The New World) creates a dark, overcast look that perfectly captures the mood of the story. The only time the look changes is a scene where Theo is driven through the area where the rich people live, which is bright and beautiful. Handheld cameras are used to give a sense of immediacy to scenes, most notably during the battle scenes at the end of the film, especially when a character's blood hits the camera lens and stays there for several minutes until a shift to a different shot. It makes the audience feel embedded in what the characters are experiencing.
Production designers Jim Clay (Blake's 7, The Crying Game) and Geoffrey Kirkland (two 1967 episodes of Doctor Who, Angela's Ashes) create a vividly realised future world which feels lived in and possible, with one set inspired by the cover to Pink Floyd's Animals album, which was itself thematically inspired by George Orwell's Animal Farm. The beautiful score by composer Sir John Tavener combines with classical pieces and pop songs, including a stunning version of "Ruby Tuesday", to create an aurally rich film.
Clive Owen's riveting performance as Theo provides the audience with a compelling protagonist and his character's journey is the heart of the film, turning the familiar trope of the cynical hero into something fresh. Michael Caine delivers a second outstanding performance for the year (after The Prestige) as Jasper Palmer, Theo's friend and a former radical political cartoonist. Julianne Moore makes a strong impression as Julian despite her limited screen time. Claire-Hope Ashitey holds her own as Kee, the vulnerable yet tough young woman who may just be the key to humanity's survival. Chiwetel Ejiofor as the Fishes' second in command, Peter Mullan as a corrupt policeman, and Pam Ferris as a former midwife also stand out.
Children of Men is one of the most engrossing science fiction films to come along in quite awhile and it's also one of the best films of 2006. Highly recommended.
P.D. James' 1992 novel is brought to the screen as an outstanding dystopian vision.
Earth, 2027. No children have been born since 2009. While most of the world has collapsed into chaos, Britain has survived as an authoritarian state with sharp class divisions that uses brutal methods to keep refugees out. Theo, an activist turned low level bureaucrat, is kidnapped by an alleged terrorist organisation called the Fishes, only to discover that his ex-wife, Julian, is its leader. They use a financial inducement to convince Theo to obtain a travel permit for a West African refugee girl named Kee. When Theo travels with Kee and members of the Fishes because the permit requires his presence, the car is attacked by an apparent mob of bandits and Julian is killed, forcing them to turn back. Soon Theo discovers that Kee is pregnant and the Fishes want to use her for their own purposes, leaving it up to him to get her safely to a ship from the Human Project while avoiding both the Fishes and the government.
Director Alfonso Cuaron (Y tu Mama Tambien, Harry Potter and the Prisoner of Azkaban) carefully crafts a dark, visceral vision of humanity's possible future in great detail. There isn't a single frame or scene out of place, and it's by turns thought provoking and thrilling. There's so much detail in the background that it might take repeated viewings to see it all. Cuaron and screenwriters Timothy J. Sexton (Live from Baghdad), David Arata (Brokedown Palace, Spy Game), and Mark Fergus and Hawk Ostby (writers of the upcoming Iron Man and John Carter of Mars films) make significant changes from James' novel, but as someone who loved the novel I think the changes all work to make the film relevant to contemporary audiences by skillfully including themes of terrorism, immigration, and environmental degradation into the narrative. As such, it reflects the possible future of our reality better than a literal adaptation of the novel could have. It's both a cautionary tale and a thriller, but it's also firmly grounded in the human drama.
Cinematographer Emmanuel Lubezki (Y tu Mama Tambien, The New World) creates a dark, overcast look that perfectly captures the mood of the story. The only time the look changes is a scene where Theo is driven through the area where the rich people live, which is bright and beautiful. Handheld cameras are used to give a sense of immediacy to scenes, most notably during the battle scenes at the end of the film, especially when a character's blood hits the camera lens and stays there for several minutes until a shift to a different shot. It makes the audience feel embedded in what the characters are experiencing.
Production designers Jim Clay (Blake's 7, The Crying Game) and Geoffrey Kirkland (two 1967 episodes of Doctor Who, Angela's Ashes) create a vividly realised future world which feels lived in and possible, with one set inspired by the cover to Pink Floyd's Animals album, which was itself thematically inspired by George Orwell's Animal Farm. The beautiful score by composer Sir John Tavener combines with classical pieces and pop songs, including a stunning version of "Ruby Tuesday", to create an aurally rich film.
Clive Owen's riveting performance as Theo provides the audience with a compelling protagonist and his character's journey is the heart of the film, turning the familiar trope of the cynical hero into something fresh. Michael Caine delivers a second outstanding performance for the year (after The Prestige) as Jasper Palmer, Theo's friend and a former radical political cartoonist. Julianne Moore makes a strong impression as Julian despite her limited screen time. Claire-Hope Ashitey holds her own as Kee, the vulnerable yet tough young woman who may just be the key to humanity's survival. Chiwetel Ejiofor as the Fishes' second in command, Peter Mullan as a corrupt policeman, and Pam Ferris as a former midwife also stand out.
Children of Men is one of the most engrossing science fiction films to come along in quite awhile and it's also one of the best films of 2006. Highly recommended.
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