Customer Reviews

The Fountain (Widescreen Edition)

5 star:		(228)
4 star:		(76)
3 star:		(44)
2 star:		(38)
1 star:		(73)

 

 

I was utterly moved to tears by this film. The Fountain is a breathtaking sentimental masterpiece in the vein of 2001: A Space Odyssey [Blu-ray] as it boldly seeks to answer the great mysteries of life, love, death and re-birth transgressing the metaphysical boundaries of the universe. It's epic non-linear narrative spans the centuries with Hugh Jackman delivering an absolutely unforgettable performance as Tomas, a Spanish Conquistador in the 16th century who pledges his loyalty to Queen Isabella (Rachel Weisz) to find the mythical Tree of Life so that Spain will hold the key to the Fourth Paradise, Immortality, denounced as heresy by the Grand Inquisitor. Tomas' quest is interleaved between three converging narratives across time and space. As a modern-day neurosurgeon, Tomas struggles to find a cure for a tumorous disease that threatens the mortality of his beloved wife Izzi who is writing a fable called "The Fountain" chronicling the odyssey of their 16th century quest which can be interpreted as either a fictitious or biographical account of Tomas and Izzi's lives who have endured the centuries together or simply as mythical characterizations of Izzi's unfinished allegorical manuscript symbolizing her husband's obsessive quest to find a cure for her terminal ailment that she has left for him to finish (the past representing Izzi's tale and the future representing Tomas' as he struggles to "finish it") both of which could be argued with equal measure. One of the beauties of The Fountain is its open-ended narrative construct left to speculation and interpretation and can be viewed from entirely different perspectives with each consecutive viewing. Tomas' quest ultimately takes him to the distant 26th century where he has projected himself and the dying Tree of Life across the great void of space in a transcendental bubble to reach Xibalba, the name of the Mayan underworld given to a dying nebula that brings the creation of new life from the wake of its destruction like the yin and yang of the cosmos beyond the confines of this mortal coil. "Our bodies are prisons for our souls. All flesh decays... death turns all to ash. And thus, death frees every soul... "

Darren Aronofsky's poetic film blossoms with rich cultural, biblical, mythical and spiritual imagery that speak the common language spoken by all religions and cultures that have asked the boldest philosophical questions about our place in the universe since time immemorial. For anyone who has ever looked to the heavens and stared in the face of mortality and beyond, The Fountain holds all of the answers to life like a profound epiphany radiating from the heavens. Drink from The Fountain and achieve the knowledge of truth and spiritual enlightenment on the road to Awe. One of the truly great cinematic masterpieces of this century and last, The Fountain will transcend the test of time and eternity.

I first heard about "The Fountain" a few years back at San Diego Comic Con. Aronofsky seemed really hyped about it and showed us a few clips. After seeing them I was amazed but confused, and thats how I felt when I viewed the entire film years later, but after thinking about the film and discussing it with some friends I figured it out and I was blown away by its beautiful complexity. "The Fountain" follows three story lines. The first is about a scientist whose wife is dieing of brain steam cancer. He spends all of his time devoted to finding a cure but to no avail. The second follows his wife when she takes up a hobbie and writes a book about a conquistador who is sent on a quest to find the fountian of youth for his queen. Her book is played out in live action as she's writing it and provides a really cool tie in to the film. The third story is the strangest. It basiclly watches the scientist as he floats up through space in a big bubble(Stay with me here)while he meditates by a big tree. These three parts intertwine to make one of the most inovative and visually stunning films I've ever seen. It's hard to explain how beautiful the film is and it's honestly one of those "You have to see it to believe it" cases. Alot of people who say they didn't like "The Fountian" say it's because they didn't understand it. Just because YOU didn't understand dosen't make it bad. "The Fountain" needs consentration and dedication but it's a film that will definitely reward you for them. enjoy.

This film is a artistic masterpiece. Its graceful beauty is does not permit debate. It will be an exquisite experience for any lover of art. The sheer visual originality will transfix the viewer. It is without pretense . . . its message is universal.

Here is the caveat: you need not be "educated" in film to understand this work . . . you need not be a Ph.D. holder to enjoy its majesty . . . you need not have any background in Early Colonialism to follow Aronofsky's thoughts . . . but you do need to be patient. You need to prepare yourself for a visual experience that rivals Kubrick's 2001: A Space Odyssey. You need to surrender yourself to Aronofsky's vision. His non-linear approach may initially confuse the viewer . . . his metaphors may initially frustrate . . . . his repetition may initially annoy . . . but try to understand these aspects as essential to the film's glory. Trust Aronofsky to guide you through the film . . . the more you resist his approach, the less you will be inclined to enjoy it.

Some label this film a "tear-jerker" . . . this is a terrible misnomer. Aronofsky's work did not steal one tear from my companion or me. This is not as much a work about two people, but is allegorical. So, if you are concerned that this film is a "romance," you can dismiss those fears entirely.

This film is similar to neither Requiem nor Pi . . . that is Aronofsky's genius. He is gifted with uncommon range. Moreover, this is not the Hugh Jackman with which many are acquainted . . . his acting is sensitive to detail and strikingly stark. Rachel Weisz enthusiasts may be equally surprised . . . but hopefully in positive manner.

Here is the bottom line: this is neither X-Men nor The Mummy, it is neither Pi nor Requiem . . . this film is as innovative as it is spectacular. Nonetheless, if you need a linear plot, if you must have explanations, if you have limited patience, you will find yourself frustrated. But, if you find yourself bored with contemporary film, tired of its predictability, exhausted with its pedestrian qualities . . . if you simply yearn to view a challenging work of art, allow The Fountain to work its uncanny "magic" on you.

Around mid-2005, I spotted the cover of a graphic novel through the shop windows in a local bookstore. As an artist, I can't help but judge a book by its cover. The illustration was of a man with his back towards the reader, he had a tattoo of a dying tree on his back, and he was holding a woman in a sensual and loving embrace. And on her face was a look of calm. I felt myself drawn to this book so I walked in and picked it up to get a closer look. To my glee, I found out that it was a creative project from the minds of one of my favorite directors Darren Aronofsky, whose films lay alongside my selection of original DVDs (and I stress the word ORIGINAL) which I watch time and again. At the back of the cover, I read that apart from this novel the movie was also in the works. So, I paid a huge chunk of what I had in my wallet for the book, and went home dying to tear the book free of its plastic wrap.

After three hours, perhaps more, of reading and taking in the beautiful artwork by Kent Williams. I was already ecstatic about the film, but had a sinking feeling in my heart that told me it probably wouldn't be shown here in the Philippines because of the depth and scope of its concept (which I am sure only a small percentage of the Filipino population would appreciate). Late last year, I chanced upon another book about THE FOUNTAIN in the same shop I purchased the first book. This time, it featured still shots and artwork from the movie itself. So, for nearly two years, I waited for a trailer to pop up on the internet just so I could catch a glimpse of the movie until I could order the limited edition DVD (which I hope comes out soon). When that day came, I felt a mixture of excitement and frustration - excited because I was dying to see what visuals Aronofsky was going to pull out of his hat, and frustrated because I was SO sure that the movie wouldn't be coming to theatres near me. I was so revved up about it that I decided to do some promotional vendetta myself, to the extent of giving the graphic novels away for Christmas presents, and e-mailing my friends and loved ones abroad to go see the movie when it comes out.

And then one fateful day, I see the plug on HBO. Suddenly, I felt that there was hope of seeing the movie in the local cinema. If this movie was able to gain this much coverage prior to its release there was a huge chance that the local industry would be interested in picking it up for distribution. I WAS RIGHT! And what a perfect time to release it on Valentine's Day! I almost crapped my pants when a friend of mine told me that it was coming out in local theatres. Even though no one else I knew was as enthusiastic as I was to go see it, I went ahead and continued my promotional vendetta. Finally, after the books, the articles, the trailers and the waiting, I would finally be able to sit back and watch this spectacle on the big screen.

I must say, THE FOUNTAIN is a perfect example of surviving the test of time. Six years in the making, acclaimed director Darren Aronofsky brought this beautiful sci-fi epic love story to page and, finally, to the silver screen. Having captured the admiration of critics and cinephiles around the world with his award-winning debut feature PI and top-listing movie REQUIEM FOR A DREAM, Aronofsky unveils another stunningly visual film featuring the talents of actor Hugh Jackman and actress Rachel Weisz. I think the casting was appropriate as the movie was the perfect chance for them to showcase a deeper and darker side of them that audiences all over hadn't seen.

It is a timeless tale of a man's journey to conquer death and save the life of the woman he loves. THE FOUNTAIN intercuts among three different time periods and follows the struggles of one multiplicitous character. There is Thomas, a 16th century conquistador battling a fierce Mayan army in the heart of Central America seeking the mythic Tree of Life for his love, Queen Isabel. There is Tommy, a modern-day neuroscientists frantically in search of a cure for his dying wife, Izzy. And then there is Tom, a far future space traveler haunted by his past, hoping to uncover the secrets of a dying star that gives birth to new life. All three storylines converge into one painful reality - that he must come to accept the inevitability of death. Deep, timeless, and creatively executed, THE FOUNTAIN is a gripping story about love that transcends death, time and space.

Aronofsky once again adds his magical touch to the artistic aspect of this film. The use of monochromatic themes throughout the movie adds more gravity to the few scenes in the movie that do have color, such as the one where Weisz dawns a red strapless dress and the one where the a plethora of green engulfs the tree of life. By method of experimentation and masterful execution, Aronofsky lavishes this spectacle with wonderful transitions, well-composed shots and notable juxtaposition that would send chills down a film buff's spine.

And being the self-proclaimed cinephile that I am, I was the first person to get in the movie theatre and the last person to get out. Although only half of theatre was filled, it was interesting to see and hear the reactions of the people around me. Some, unfortunately, had found it hard to catch up. Some left the theatre a little confused. But most importantly, some left speechless and in awe. I loved it. I myself, was teary-eyed and at a loss for words. I most certainly recommend the movie to all you artists and cinephiles out there who appreciate a beautiful and well-thought concept. Definitely another addition to my selection of favorite films that I am bound to watch over and over and over...

One of the few masterpieces of film in recent years. It is many years ahead of its time, and certainly not for everyone. If you have already experienced the sentiments expressed by this film, you'll find them echoed in it beautifully, but if you've never wondered about the kinds of issues the film handles, you'll find yourself bored to tears or groaning at its earnestness. It is too strange, too abstract for the everyman, but that's fine, because it reaches right to the core of its intended audience.

Without any doubt Aronofsky's most mature and well-crafted effort - he has grown leaps and bounds since "Requiem for a Dream" and this is definitely his most intensely personal film to date. He has managed to reach inside himself, draw out and present - for the first time, I feel - some very ineffable and sublime emotional aspects that are a part of every human being. Compared to his two previous films - which felt more like "hey, that's a cool/interesting idea, let me explore it..." - he has truly managed to do the job of an artist, which is to move people in ways they won't easily forget and ultimately have a lasting impact on them.

Art film as art film was meant to be. And did, in the time of the old masters (Bergman, Tarkovsky, Kurosawa, etc): not pretentious, not laden with "emotional pornography" or excessive sex/intellectualism but the most brutally honest expression of people who have studied human psychology/spirituality for years and synthesised it into a narrative.

I found this movie incredibly moving. What seems to be lacking in the perspectives of some of the reviewers is that it is not a literal or linear film. The Fountain is a work of art that has layers and layers of meaning and needs to be interpreted accordingly. Quite bluntly, if one mythically translates the symbolism of each character and the implied sense of sequential timing of events, one realizes the events are not necessarily occurring in some fictional history but are actually meant to imply symbolic, simultaneous, and multidimensional occurances in time.

This is, in my opinion, the timeless and universal story of a symbolic representation of the soul, the queen or anima, sending the body-mind consciousness, the conquistador/physician, on a quest to discover universal immortality. In order to do so, the physician, the conquistador, the body-mind-trapped human being, is imprisoned in a bubble of its own belief systems and fears, much as many of us are. This is its afterlife or on-going life experience. In this state, the character ascends toward heaven, but can never quite enter until it accepts its mortality and the necessity of death. Once it is able to accept the need to "finish it" and enter into death and transition, it discovers it becomes the essence of life itself, the all-father, the consciousness from which life springs. Through this the queen or soul is reunited with the body-mind consciousness, now self-aware, in eternity, and able to transcend time and mortality.

To me, the movie is a beautiful representation of the essense of the spiritual quest of humanity. I highly recommend it and look forward to its release in DVD.

While many of the other reviews for The Fountain do a wonderful job of relaying the emotional context of this movie, and the elegant and dazzling cinematography that encompasses it, I'd like to take the opportunity to comment on the Blu-ray edition of this movie.

First off, for all you doubters and disbelievers (like myself before purchasing this movie), there is a HUGH difference between watching this movie in 1080p* (high definition) and 480p (standard definition). The image is much crisper, the lines that separate and define the objects in the movie are well... more defined, and it is just all around a more visually appealing experience. The movie is also in 1:85:1 ratio, so for those of you who have widescreen televisions you'll be able to enjoy a full screen non-letterboxed experience. The sound also seems much deeper and comes through my speakers crystal clear. The one downfall to the Blu-ray edition is that some of the scenes have a lot of image noise in them that I didn't notice in the standard DVD release. Although, I've seen Aronofsky deliberately create image noise in his other films (PI comes to mind) so this may be intentional.

Also of great interest to me was the modified menu for this movie. It doesn't have a traditional DVD menu. The DVD menu is completely interactive while the movie is playing. In other words, you don't have to stop and exit the movie to view the different chapters of the movie, or even view / preview the bonus material for that matter. The movie has a built in menu that allows you to switch subtitles, language, visually view chapters of the movie and jump between them, and preview the features available on the disc without ever having to stop the movie - this in an interesting diversion from the traditional DVD that has a frontend in which you preview / review the bonus material and then choose to start the movie. On this disc, the movie starts right away, and then while the movie is playing you can choose to browse the menu. To me, this is a much better viewing experience, as it avoided all the intro / commercials at the beginning of the disc, and gets you right into the movie without having to go through a half dozen menus.

As far as features go, there are many more features on the Blu-ray release than on the standard DVD release. One of these supplements is the astounding "Peter Parks montage" that takes some of the macro-photography used in the movie and sets it to a musical score; beautiful to watch, although I wish it would have been longer. There are also interviews, VFX documentaries, and storyboards that are not on the standard DVD release. Anybody who is a fan of this movie and has the hardware should put aside their doubt and get the Blu-ray edition. It's certainly worth the extra $9 I paid for it.

*The movie is 1080p, but the special features are either 480p or 480i.

Darren Aronofsky has never made movies that were easy viewing. Examples? Just watch "Pi" and "Requiem For a Dream," and you'll see why this underrated director has made one of the most astounding sci-fi movies in ages.

"The Fountain" is basically a sprawling tale that is half "real," half outside the mind -- love, immortality, death, grief and a tangled plotline that may take a few viewings to get right, but is exquisite in its simplicity. Not satisfied with depth, Aronofsky also makes it an absolutely stunning visual experience.

Research oncologist Tommy (Hugh Jackman) is trying to find a cancer cure by animal testing, so he can save the life of his dying wife Izzie (Rachel Weisz), including an unsanctioned test from a mysterious tree. As she hopes for a cure, Izzie has been writing a book about a Spanish conquistador who is seeking the immortality-granting Tree of Life.

As we see in other flashbacks, that conquistador is a version of Tommy (and Izzy as Queen Isabella). And far in the future, Tommy still struggles with his wife's loss, as he travels to a distant nebula to revive the tree. But as he finally gives in to his wife's last wish, he becomes enmeshed in a mysterious rebirth that stretches through the ages.

"The Fountain" got a royal whupping from critics, and was even booed by test audiences, who presumably couldn't understand the three storylines -- or rather, one non-linear storyline, in which the lines between reality and imagination are blurred. Perhaps all of it is true, or perhaps Tommy's mind is creating the 1500 and 2500 scenarios to help him cope.

As befits a movie that tackles so many deep themes, Aronofsky weaves mythology, creation beliefs, religion and the fear of death together, and binds it together with the universal theme -- love that even death can't overcome. The dialogue tends to be more spare than the story, rather than loading it down with unnecessary ponderings.

And he does it beautifully and surreally. The whole movie is tinged in gold -- gold light, gold costumes, gold Tree of Life, gold nebula, gold deserts. The camerawork is filmed poetry: there are sweet moments like planting a seed in a grave, the Tree lit by the sun, and the sight of Tommy inside the nebula. The most exquisite moment comes when Tommy kneels before Izzy, under the Tree, with drops of golden light falling around them.

This is undoubtedly Jackman's best movie, making us feel Tom's love and sorrow for Izzy ("There's no hope for us here. There is only death"), and the lifelong struggle against death. Your heart really breaks for him. Weisz is sweet and wilting as Izzy, and the chemistry between the two leads makes their time-busting love seem entirely reasonable.

Aronofsky has made a story that is pure art, exquisite in theme, and while you might have to watch "Fountain" a few times to really "get it," but you won't regret the experience. Even if you don't like it, in an era of bland popcorn movies, its ambition is worth praising.

Darren Aronofsky has never made movies that were easy viewing. Examples? Just watch "Pi" and "Requiem For a Dream," and you'll see why this underrated director has made one of the most astounding sci-fi movies in ages.

"The Fountain" is basically a sprawling tale that is half "real," half outside the mind -- love, immortality, death, grief and a tangled plotline that may take a few viewings to get right, but is exquisite in its simplicity. Not satisfied with depth, Aronofsky also makes it an absolutely stunning visual experience.

Research oncologist Tommy (Hugh Jackman) is trying to find a cancer cure by animal testing, so he can save the life of his dying wife Izzie (Rachel Weisz), including an unsanctioned test from a mysterious tree. As she hopes for a cure, Izzie has been writing a book about a Spanish conquistador who is seeking the immortality-granting Tree of Life.

As we see in other flashbacks, that conquistador is a version of Tommy (and Izzy as Queen Isabella). And far in the future, Tommy still struggles with his wife's loss, as he travels to a distant nebula to revive the tree. But as he finally gives in to his wife's last wish, he becomes enmeshed in a mysterious rebirth that stretches through the ages.

"The Fountain" got a royal whupping from critics, and was even booed by test audiences, who presumably couldn't understand the three storylines -- or rather, one non-linear storyline, in which the lines between reality and imagination are blurred. Perhaps all of it is true, or perhaps Tommy's mind is creating the 1500 and 2500 scenarios to help him cope.

As befits a movie that tackles so many deep themes, Aronofsky weaves mythology, creation beliefs, religion and the fear of death together, and binds it together with the universal theme -- love that even death can't overcome. The dialogue tends to be more spare than the story, rather than loading it down with unnecessary ponderings.

And he does it beautifully and surreally. The whole movie is tinged in gold -- gold light, gold costumes, gold Tree of Life, gold nebula, gold deserts. The camerawork is filmed poetry: there are sweet moments like planting a seed in a grave, the Tree lit by the sun, and the sight of Tommy inside the nebula. The most exquisite moment comes when Tommy kneels before Izzy, under the Tree, with drops of golden light falling around them.

This is undoubtedly Jackman's best movie, making us feel Tom's love and sorrow for Izzy ("There's no hope for us here. There is only death"), and the lifelong struggle against death. Your heart really breaks for him. Weisz is sweet and wilting as Izzy, and the chemistry between the two leads makes their time-busting love seem entirely reasonable.

Aronofsky has made a story that is pure art, exquisite in theme, and while you might have to watch "Fountain" a few times to really "get it," but you won't regret the experience. Even if you don't like it, in an era of bland popcorn movies, its ambition is worth praising.

An epic film (at a non-epic length of 96 minutes), Darren Aronofsky's ambitious science fiction parable "The Fountain" demonstrates that the director wants to continue to make dense, emotionally complex films that require audience involvement. Although it isn't flawless, "The Fountain" is an enjoyable film that moves along at its own leisurely pace. Although "The Fountain" was critically attacked when it was released (it was booed at Cannes), it's an ambitious worthwhile film for those who have the patience and aren't expecting a explosion filled Summer blockbuster kind of movie. Aronosfky serves a different slice of "pi" here in trying to tackle the subject of mortality, reincarnation and the afterlife. It's a fascinating film even when it fails to reach beyond the rudimentary topic at hand.

The different strands of this interlaced triptych have different success rates with the story involving the Conquistador's search for the Tree of Life that a Franciscan Monk (Mark Margolis) friendly to the Spanish throne may be able to find. If the Conquistador (Hugh Jackman) can find it, Queen Isabella (Rachel Weisz)may survive the expanding inquisition. The present day story with Jackman as Dr. Tom Creo struggling to find the cure to his wife's cancer (she's writing a book called The Fountain which details the first part of the story about the Conquistador and his search. When Tom "reads" the story he's reading a metaphor about what is happening to his wife, his efforts to save her, etc.) all the while running into unintentional roadblocks from his boss (Ellen Burstyn in an Oscar nominated performance) is along with the first, most successfully. The last segment set in the 26th Century while visually dazzling is the most cryptic much as Kubrick's ending for "2001: A Space Odyssey" was cryptic in tackling the concept of mortality and "rebirth". Again, it could be seen as Tom's efforts to save his wife from his perspective and his ultimate surrender to fate and the acceptance that he may not be able to save her in this life but can join her in the next.

While Arononfsky's ambitious story may leap out of his grasp, there's much to admire in this visually stunning film. It won't be for everyone but like Kubrick's "2001" it will speak to a specific audience and the skill with which it is made will insure that its reputation (both for good and bad) will grow with time. In fact Aronofsky's film probably has more in common with the two versions of "Solaris" more than Kubrick's film with their consideration of life, death and how they impact those we love.

Linking all six characters that Jackman and Weisz play is an interesting idea that might confuse those expecting the film to be literal. On the other hand, one could rationalize why they are in all three stories since it touches the attempt by Jackman's character in all three stories to try and defeat death allowing him to stay with the women he loves. Perhaps in some way they are the same "characters" constantly struggling to defeat death to stay together. You decide. Aronofsky takes an almost literary approach to the material eschewing the action-adventure approach of most film science fiction.

For those interested in the DVD extras we get a six part featurette that can be viewed all at once that covers everything from the genesis of the project (when it was entitled "The Last Man") and the discussions that Aronofsky had with a Ari Handel (who co-wrote the story). They had many discussions about life, death and fate all of which were fed into this compelling film. It's amazing what Aronofsky gets away with given the low budget of the film. At one point the film went into turnaround when Brad Pitt and Cate Blachett pulled out of the film. Originally budgeted at $75 million, the production saw its budget sliced in half after Pitt left the production (reportedly due to creative differences with Aronofsky). Aronofsky lost his sets (they were auctioned off when Village Roadshows pulled out of the production as well)

The fascinating, beautiful visual effects were achieved using micro-photography of chemical reactions on Petri dishes vs. with CGI and looks just as good (if not better) than some of the visual effects for similar films that have used CGI to portray a star about to go nova. We also get the original theatrical trailer. While that's nice, a good commentary track would have been a bit more revealing particularly during some of the more symbolic and over-the-top sequences of the film.

Is "The Fountain" for everyone? No. Some will consider the film to be a pretentious hodge-podge of romantic/spiritual sci-fi and homage to Trakovsky's "Solaris". "The Fountain" has more in common with Tarkvosky's "Solaris" than "2001" (although Tarkovsky's film is about a man trying to deaden himself against the living memory of the woman he loved). In that regard, "The Fountain" is a fine companion piece to both films (if a bit more esoteric and cryptic). I personally like "The Fountain" but it will take some patience to stay with the overlapping often intersecting storylines and absorb the ending of the film. "The Fountain" is thoughtful, emotional science fiction something of a rarity in today's bigger, louder, faster science fiction films. Solaris, Solaris - Criterion Collection, 2001 - A Space Odyssey