Thursday, February 14, 2013

Upside down

Cast: Jim Sturgess, Kirsten Dunst; Direction: Juan Diego Solanas; Story and Screenplay: Juan Diego Solanas; Cinematography: Pierre Gill; Editing: Dominique Fortin;  Music: Benoit Charest; Producers: Claude Leger, Dimitri Rassam, Aton Soumache; Genre: Sci-fi Drama;  Location: Running Time: 110 minutes; Distributor: Touchstone Pictures

Technical assessment:  3
Moral assessment: 3
CINEMA rating: V14
MTRCB rating:  GP (General Patronage)

In another part of the universe, twin worlds exist with the following rules of gravity:  1) All matter is pulled by the gravity of the world it comes from; 2) An object’s weight can be offset by matter from the opposite world or inverse matter; 3) Matter in contact with inverse matter burns after some time.  The inhabitants of each world are not allowed to have any relationship with each other and their only contact is through Transworld, an industrial corporation built by the world above that enables it to get gas from below at the same time supplying it electricity at such high cost.
In the poorer exploited world below, Adam (Jim Sturgess) lives as an orphan who has inherited from his aunt a secret formula that allows matter to defy gravity while on the richer oppressive world above, Eden suffers from amnesia after a fatal accident when she was a teenager. The memories Eden lost before her accident were the secret meetings she made with Adam. Ten years after the accident, Adam sees Eden in a TV program sponsored by Transworld and decides to use his secret formula to gain employment and meet Eden once more.  But to win her back, he must defy gravity, confront the prejudices of the world above, regain Eden’s trust and try to make her believe the dreams she has been having were memories of their past.
The effects and production design are splendid, giving that gritty in your face feel of a hard core reality even with the obvious vignette and color corrections.  The visual effect is breath-taking with the seamless blending of fiction and fairy tale in the work.  It is obvious that this film was challenging to shoot and execute but Solanas pulled it off quite impressively, technically speaking.  This aspect made the film engaging despite its pretentious storytelling.  The story and its tempo resonate Gattaca and move too slow for comfort.  It did not help that Sturgess and Dunst both were irritatingly sugary and stilted.  You just knew from the start that they will end up with each other after the first 10 minutes so why wait another hour and forty? You can just wish there was more to the movie than just the same old love story.
Love is just so great and powerful it defies gravity—literally, in this movie, at least. Love gives hope and determination to (also literally) rise above a predicament. But more than the romantic love is the basic respect for a person not because he or she is loveable but because he is a human being regardless of class, race or social status.  The stronger and more honorable love was not between Adam and Eden but with Bob—Adam’s upper world co-worker in Transworld—who made no distinctions between the poorer and the richer world. Very subtly, the movie talks about equality, brotherhood and breaking that barrier that separates worlds and people based on what they have.
As a whole, the movie is decent and wholesome but suggestions of pre-marital sex and pregnancy outside marriage might be misunderstood by very love struck teenagers. 
(Editor’s note:  MTRCB rates this movie GP, but parents surely have a lot of explaining to do to curious kids, not only about Newton’s law of universal gravitation which all satellites and projectiles obey, but also the probability of pregnancy without sexual intercourse.  Thus it comes as a surprise (spoiler coming!) that Eden announces in the end that she’s pregnant.  Nowhere in the movie do Sturgess and Dunst go beyond prolonged and boring kissing—but hey, wait, could they have “done it” just by floating in the air while locked in an embrace?  You never know in sci-fi.  But that’s what CINEMA is trying to say here.  Upside down is science-fiction, and despite its scientific sounding opening scene laying out the fictional gravitational laws from which the story attempts to draw its claim to credibility, the storyline is burdened with inconsistent physics.  Mesmerized by the stunning visuals, intelligent kids might still wonder: Are there even sunsets or sunrises in either world?  Do the worlds revolve around a sun jointly?  Do they rotate around their individual axis synchronized?  We’re willing to grant that the makers of Upside down are trying to present an ideal society where freedom and equality reign supreme, and that a new civilization is possible through the union of Adam and Eden—the choice of their names is a giveaway—but don’t let their hypothesis turn your science upside down).