Something I posted in a forum about The Fountain

(This was in response to another post of-course, so the opening paragraph may seem a little strange – in any case, it’s easy enough to follow).

Haha – no actually, it’s easy not to talk about it in a forum, it’s the kind of thing I prefer to talk about in person. Like Solaris for me, it just doesn’t warrant the same kind of review process that lesser films are subject to. Such is its grace, articulation and depth that the less said about it, the better. There are times when we always want to try and get the best possible view of a film or piece of art before we experience it, however there are times where this only ever dilutes potential perspectives and creates rigid expectations.

How do I go about recommending this film then? I suppose if anyone knows the kinds of films I like, then that would be the best indication of it, so as it ranks up with Tokyo.Sora, Mizu no Onna, Solaris (2001) and The Station Agent, (Jin-Roh and Ghost in the Shell are anime, but worth mentioning in the selection anyway) that may give readers some kind of idea. The Fountain isn’t as minimal as any of the three mentioned above, as it has more dialogue and music both, however they are all very different films as far as production values go and a good thing too – it would be terribly naff of me to choose a handful of films as my favourites that were all carbon copies of each-other. The increased dialogue and music perfectly suits The Fountain as it is the most theatrical of them all, especially given the way emotions play out on screen.

I have to say that what most of the reviews, and indeed many of those in the positive seem to have missed, is just how intimate this film is, not only in the two performances given by the lead roles, but in the heart of the narrative. It seems so many commentators are obsessed with the illusory grand scale of the film, when indeed like many things it’s not about looking outward, but looking deep within.

Make no mistake; this isn’t a film about a sweeping story that spans 1000 years at all, it is a very intimate look at two people and their complex and intricate thoughts, responses and emotions. I suppose I’m very much in-love with this kind of blind; much like Solaris and Mamoru Oshii’s work, the films use intricate narratives beneath which to lay very subtle, yet very powerful ideas.

Anyway, that’s some of my somewhat abstract and obscure commentary on the film – I don’t want to spoil anything, and even now I wonder whether my comments will inspire rigid expectations just like any other response to the film; nevertheless, hopefully most readers have grown beyond being heavily influenced by the perspectives of others when it comes to their own experiences of art.

Oh yeah, it’s visually fucking gorgeous.