Equilibrium Review
Marzo 16th, 2010 by charolette1596453
I can understand the hurry to compare “Equilibrium” and “The Matrix”. Both films feature dim, foreboding cinematography. Both films are about rebellion against a warped reality. Both films feature a reluctant, messianic protagonist. And, finally, both films rely heavily on stylistic, hyper-kinetic combat scenes that can only be described as, well, reverent. That is where the similarity ends because while “Equilibrium” has a few moments of slow-motion it’s action scenes are remarkable more fresh than those of “The Matrix Trilogy”. No Wires, fair pure crazy choreography which makes the action feel all the more authentic. The environment is also a huge deal more organic in inequity to the cryptic automaton of the Matrix.
“Equilibrium”, in short, manages to be entirely its maintain movie. Where The Matrix relies on “bending” the rules of physics in an imaginary produce of a world, “Equilibrium” goes the other device and hypothesizes the “Gun-Kata”, a martial arts ballet that allows it’s practitioners to predict and anticipate conclude quarters gun fighting and hand to hand combat. Then, through a series of accurate, dance like movements, a person can bewitch on several combatants, using exacting, fluid actions to eliminate his attackers. Given a decidedly artistic presentation within the course of the film, these rapid-fire rhapsodies are exhilarating and oddly lovely. They glamorize death as an abstract expression of powder bursts and shrieking projectiles. The film features some of the best choreographed shootouts I have ever seen, and ends up putting anything in The Matrix Trilogy to shame.
“Equilibrium” is a film that explores what it theorizes to be the root of all worldly chaos, human emotion. The movie takes plot in the come future after a third world war that leaves Earth on the verge of total destruction. From the ashes arises a government that regulates everything and everyone through mind control. The drug Prozium is hailed as the elixir to the world’s problems because it suppresses human emotion and thus eliminates the possibility war. All art, music, poetry and any emotion are considered contraband and must be destroyed upon discovery.
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The distinguished clash is between individualism and collectivism — the thought that each person is an waste to him or herself and pursues his or her beget happiness, and the theory that the individual exists only to further the interests of the space. In “Equilibrium”, the side of “feelings” (the side that promotes painting, music, and literature) is the side of the sovereign individual.
The film clearly suggests that emotions — the ability to “feel” — are what gain life worth living; yet they are also the source of violence and war. At some level, this is clearly lawful. The joy of art, the intensity of romantic appreciate, the pleasures of a touch or the watch of a sunrise, the fascination of a grand opinion — these are the things we live for. “Crimes of passion” such as execute, domestic violence, and assault generally involve uncontrolled emotions.
In “Equilibrium”, execute and war among the civilian population have been wiped out. Of course, they have been replaced by state-sponsored abolish and fright. Thus, the film points out the right purpose of deadening people’s emotions is to perpetuate place oppression.
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This nightmare is presided over by the Spacious Brother-like dictator Father, and enforced by a quasi-religious order of “Clericks,” whose astonishing combat skills are unleashed on “sense offenders” who have gone off the drugs that retain the populace docile.
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John Preston (Christian Bale) is the perfect Grammaton Clerick (the government is known as the Tetragrammaton) . He kills “sense offenders” without passion or guilt … until he inadvertently fails to recall his prescribed tranquilizer dose and events originate to glean up with him. Dinky by microscopic, he finds himself drawn into “sense crime” and then into the resistance. I hesitate to notify noteworthy more about the spot of “Equilibrium”, jammed as it is with surprise and invention — suffice to say, this is an shimmering rollercoaster crawl, as cerebral as it is visceral; both a bleak survey into a possible future and a stirring tribute to the indomitable human spirit.
The creators of “Equilibrium” had to choose some liberties with the very belief of emotion, of course. The drug really only eliminates the “highs” and “lows,” leaving enough emotive strength for the characters to keep ambition and a visceral hatred of their enemies. Station means conflict and human conflict is impossible without emotion.
The acting is apt, and if you like Christian Bale as noteworthy as I do, he shines above all else. Bale is truly exceptional in bringing a valid sense of emotional conflict to the character of Preston, and as the film moves on he gradually brings that emotion to the forefront. At the commence of the film, and in it’s many flashbacks, Preston is supposed to be this emotionless killer that doesn’t realize he’s actually feeling subtle emotions. Bale’s performance keeps the perfect monotone suppose of an emotionless character, but in his eyes shows the doubt, remorse and infuriate. Then as the films moves on he gradually starts changing his tone of shriek, allowing the monotone to falter in key moments, until in the raze he completely releases all of his emotions.
As you can verbalize, Equilibrium’s place draws from a rich variety of sources. There’s a lot of Orwell’s “1984″ and Aldous Huxley’s “Doughty Original World”.
True, there are a few minor space problems, but any movie that treats ideas and symbols seriously these days is a net, and one that pulls off a serious treatment of life’s most fundamental questions in the context of a consuming myth is a rare jewel.
“Equilibrium” is not science fiction so considerable as political speculation. It’s that mainstay of movies, the cautionary memoir, curved into a decidedly dense and groundless action thriller. While it may not always voice in the conception department, we distinct bag some incredible visual flourishes. And if a sci-fi film can slip your imagination, it’s won most of the battle.
The creation of the enigmatic weapons battle dance, “Gun-Kata”, makes the movie a eye at least once spend in speculative movie making.
Sci-fi flick with lovely visuals, “Equilibrium” deserves powerful more attention not only from fans of genre, but also from general audiences. Obvious, its flaws are too visible, borrowing Orwellian ideas from other films like, say, “Brazil,” but it is not that ideas themselves but the design they are attach into practice that really counts, and on that win “Equiliburium” is a winner. (And critics, please let me know, why do you all praise Steven’s “Minority Record” which actually borrows ideas from other films of this genre? So, why not give this one a due respect? )
Well, I admit the opening chapter of “Equilibrium” is a bit outmoded, introducing us to the dystopia world after the WW3, but soon you will forget that. The totalitarian government established after the war decided to eliminate anything that might possibly invent humans emotional, forcing the people to inject a determined doze of [chemical substance] to be unemotional every day. Moreover, it decrees there should be no more music (not only hip-hops, but classic music), no more motion pitures, and no more decorated interiors. Those who adore them cloak underground, becoming rebels while the authroity dwelling up a super-cop troop called “Grammaton Clerics.”
Christian Bale (”American Psyco”) is John Preston the best of the Clerics, and dedicates himself to the job until he arrests a woman Mary O’Brien who possessd illegal stuffs. But her strong creed and perhaps beauty execute their procedure into the sleeping heart of Preston, who has been long fighting for his cause.
The film’s philosophical messages are in themselves not fresh at all, and director Kurt Wimmer might have kept his opinion a diminutive too long. I say so, because today, in the 21st century, it is not this Orwellian society that we are terrified of most. The memoir has enough twists to surprise us, but maybe one too many, I consider, and the wrap-up allotment of the film feels a bit hurriedly done.
However, those are noting before the film’s sensational action scenes, which can beget up for any flawed fragment of the film. The “Gun-Kata” fighting deserves special mention, using [weapons] like Japanese swords, and its hyper-kinetic movement is very violent and very stunning at the same time. Astounding it might sound, but Christian Bale shows friendly action star quality here, displaying the beauty of “Kata”s — and “kata” means in Japanese “style.” Yes, there are lots of styles in “Equilibrium.”
Other plsyers are also effectively cast, and most unexpected is Emily Watson, who quite naturally becomes the Joan D’Arc-like character. Taye Diggs is excellent as Preston’s partner, and though short time, Sean Bean, cast against type, is also perfect as Partridge who plays a key role in the narrative.
I was quite surprised and ecstatic, and even thrilled to stare this neglected film, which should have been more pushed. Again I say, its actions are sensational. Not that this is “Matrix”; rather, it is more unusual and has its beget “kata” = style, which means a lot these days.
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Menage-a-Phyllis (Airdate: November 2, 1974)