It is truly saddening when high quality films are treated like excess garbage. Let's take The Fountain for example. After directing his druggie masterpiece, Requiem for a Dream, Darren Aronofsky set his sights on another enigmatic project that would embrace his dazzling vision. The Fountain was set to star Brad Pitt and Cate Blanchett in a tale of two lovers set in three different time periods. After considerable budget was poured into the project, the megastars backed down, and the The Fountain's story of eternal life was left for dead. This was until it was resurrected once more with Hugh Jackman and Rachel Weisz filling the shoes of Pitt and Blanchett. Film aficionados and Aronofsky fans anxiously awaited the film's Thanksgiving week release, only to see it fail considerably with negative reviews and low box office numbers.
It is easy for me to comprehend why The Fountain was not received by the movie-going public. Despite its stunning array of aesthetics, the film is packed with more questions than answers, which is rarely appreciated by audiences. However, what I fail to understand is why this film was slammed by so many critics. Various indie films have proven to be too "out there" for the mainstream, but generally seek refuge in the arms of understanding film critics. The Fountain is a film that seems to have hit theaters at the wrong time, perhaps confusing the critics who were reveling in the Thanksgiving blockbuster goodie baskets. Despite its bad reputation, I not only give The Fountain accolade for being a great film, but possibly the best film of 2006.
Tom (Hugh Jackman) is a research scientist who is married to and madly in love with Izzi (Rachel Weisz). In the midst of their happiness, Izzi is inflicted with cancer. This leads Tom on an obsessive quest to discover the cure for disease and pain; he is on a mission to discover the serum for eternal life. Meanwhile, we frequently see Tom in the future where he is speaking to a tree and encapsulated inside of a globe-like atmosphere. Like Izzi, there is something about the tree that Tom holds sacred and sees as the key to eternal life. On top of "Present Tom" and "Future Tom" we also meet Jackman in the early 1500s as conquistador Tomas who is on a mission under Queen Isabel (Weisz) to find the Tree of Life.
Yes, The Fountain is clearly a film that is difficult to summarize. It is certainly not easy to cram into a Hollywood pitch. Many critics claimed they did not enjoy the film because they simply didn't get it. What I do not understand is that these same critics that admire the mind-boggling smorgasbord of David Lynch suddenly give up on a film because they do not get it. Upon seeing The Fountain in the theater for the first time, there was not a sense of closure. How the characters in the three different time periods were connected was not entirely clear to me. However, the film exhibited a sense of mysticism that called for a second viewing the following week. During my second viewing, I saw The Fountain as an entirely different text. Rather than focusing solely on the central plot, I was able to make more connections, and appreciate the film for its aesthetics. In addition to a simple storyline, there is a tear-inducing score from composer Clint Mansell, unforgettable visual effects, and the skilled cinematography of Matthew Libatique. While still not entirely sure about the intricate workings of the plot, I identified The Fountain as a film that simply is what it is. We are not meant to follow a straight plot line, but instead use our imagination with the pieces laid before us by director Aronofsky.
Of course, there remains the question as to whether or not Jackman and Weisz are worthy replacements for Pitt and Blanchett. While never getting to see the previous actors in this role, I whole-heartedly bought the performances by the talented performers. Hugh Jackman really exercises his versatility by playing three different characters obsessed with the mystery behind eternal life. The Fountain is essentially a morality tale that stresses the importance of enjoying our short lives, and this point would not be clear without Jackman's performance. As men who make too many mistakes in their impossible journeys, Jackman gives one of the best performances of the year. Following her Oscar-winning turn in The Constant Gardner, Weisz is also on target as his wise love interest going through the stages of death.
I cannot stress enough my recommendation for The Fountain. This is not standard, popcorn-munching fare. It is pertinent to stress that this film is ambiguous and caters to those who don't mind exercising the noggin. I do suggest buying this film, because it is intended to be seen more than one time. The film and special features are outstanding and get my solid stamp of approval.