David O'ConnellAvatar
December 23rd 2009 03:54
James Cameron’s long-gestating follow-up to Titanic redraws the boundaries of where CGI technology can take the medium of film and its primary beneficiaries, cinemagoers, plunging us into an immeasurable universe with breathtaking conviction. Yet despite the immensity of Cameron's planet Pandora, we're never in danger of losing our bearings even as we’re constantly awestruck by the gargantuan scale of it all.
The year is 2154 and Sam Worthington is Jake Sully, an incapacitated Marine who has his consciousness transplanted into the body of a hybrid being with the external appearance of a member of the native population, the Na’vi. This 'avatar' has been specifically engineered for the purpose of infiltrating the indigenous population to win their trust and convince them of uprooting their home for greener pastures. In doing so, this would provide easy access to massive deposits of a precious mineral called Unobtanium for Earth’s avaricious interlopers.
Cameron’s skillfully but predictably reverses our sympathies by ensuring that the soulful aliens and their rich cultural ancestry - entombed in the luminescent expanses of their forests - become crucial elements. The intergalactic battle for supremacy assumes strong environmental undertones as the Na’vi fend off the brutal, one-note agenda of greedy corporate mercenaries – embodied by Giovanni Ribisi’s Parker Selfridge - and their intractable military arm which aims to quash all in its path; the latter is given voice by the ludicrously gung-ho Colonel Quaritch (Stephen Lang) whose patriotic speechifying is the surest sign that he’ll be the last to die, defying every attempt to kill him.
With its heavy reliance on the exploits of its blue-skinned protagonists, Avatar’s human performances only ever needed to be perfunctory. However, through Sully, Worthington reveals the steeliness and dedication of his character's troubled background as well as a softer, conscionable aspect, proof that Jake is far from being out of his depth in leading a crew of morally compelled dissenters to preserve the rich cultural history of the Na’vi.
Cameron’s screenplay cleverly evokes the concept of humaneness rather than something diluted by the familiar failings of humanity. The unlikely inter-species love story between Sully and voluptuous Na'vi princess Neytiri (Zoe Saldana), as much as it exemplifies that point, comes across as well-developed and strangely believable in its own right.
The film relies on a series of thunderous action set-pieces which remain remarkably organic to the story’s evolvement rather than randomly amped-up showpieces contrived for their sense of spectacle. Also crucial is the lingering, wondrous freedom evoked by a sense of unlimited access to a faraway world unhindered by conceptual boundaries. The strength of the visuals are well supported by James Horner’s epic score, replete with heavenly choirs, exotic percussion and booming orchestral rejoinders for the large-scale destruction.
As pure escapism, Avatar is just stunning, especially with the enhancements of 3D - a gratifying funhouse ride that seizes control of your attention from the first frame and never lets go, establishing a new cinematic frontier in the process. Whether it stands the test of time is another matter; but for now, this is certainly an epic assault-on-the-senses to feast on. James Cameron has dutifully fulfilled his promise to make this the final and greatest event film of the decade, and because of his painstaking vision and patience in allowing technology to make ground on his fertile imagination, the next phase of cinema’s revolution is complete.
Trailer here.
The year is 2154 and Sam Worthington is Jake Sully, an incapacitated Marine who has his consciousness transplanted into the body of a hybrid being with the external appearance of a member of the native population, the Na’vi. This 'avatar' has been specifically engineered for the purpose of infiltrating the indigenous population to win their trust and convince them of uprooting their home for greener pastures. In doing so, this would provide easy access to massive deposits of a precious mineral called Unobtanium for Earth’s avaricious interlopers.
Cameron’s skillfully but predictably reverses our sympathies by ensuring that the soulful aliens and their rich cultural ancestry - entombed in the luminescent expanses of their forests - become crucial elements. The intergalactic battle for supremacy assumes strong environmental undertones as the Na’vi fend off the brutal, one-note agenda of greedy corporate mercenaries – embodied by Giovanni Ribisi’s Parker Selfridge - and their intractable military arm which aims to quash all in its path; the latter is given voice by the ludicrously gung-ho Colonel Quaritch (Stephen Lang) whose patriotic speechifying is the surest sign that he’ll be the last to die, defying every attempt to kill him.
With its heavy reliance on the exploits of its blue-skinned protagonists, Avatar’s human performances only ever needed to be perfunctory. However, through Sully, Worthington reveals the steeliness and dedication of his character's troubled background as well as a softer, conscionable aspect, proof that Jake is far from being out of his depth in leading a crew of morally compelled dissenters to preserve the rich cultural history of the Na’vi.
Cameron’s screenplay cleverly evokes the concept of humaneness rather than something diluted by the familiar failings of humanity. The unlikely inter-species love story between Sully and voluptuous Na'vi princess Neytiri (Zoe Saldana), as much as it exemplifies that point, comes across as well-developed and strangely believable in its own right.
The film relies on a series of thunderous action set-pieces which remain remarkably organic to the story’s evolvement rather than randomly amped-up showpieces contrived for their sense of spectacle. Also crucial is the lingering, wondrous freedom evoked by a sense of unlimited access to a faraway world unhindered by conceptual boundaries. The strength of the visuals are well supported by James Horner’s epic score, replete with heavenly choirs, exotic percussion and booming orchestral rejoinders for the large-scale destruction.
As pure escapism, Avatar is just stunning, especially with the enhancements of 3D - a gratifying funhouse ride that seizes control of your attention from the first frame and never lets go, establishing a new cinematic frontier in the process. Whether it stands the test of time is another matter; but for now, this is certainly an epic assault-on-the-senses to feast on. James Cameron has dutifully fulfilled his promise to make this the final and greatest event film of the decade, and because of his painstaking vision and patience in allowing technology to make ground on his fertile imagination, the next phase of cinema’s revolution is complete.
Trailer here.
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Comment by quatro
Secret Writers Business
You exemplify the art of critical opinion.
I too was fortunate to watch this movie in 3D and to say I was mesmerized and taken to a level far beyond anything else I have ever been too in cinema is a true statement.
You mention this was an all out assault on the senses and that is also true.
I am in awe of the mind (James Cameron) that envisaged this world and had the prowess to bring it to life.
LOVED this movie like no other, due to its encompassing and usage of the latest technology in cinematic magic.
I also agree with you about the cinematic evolution as we are truly witnessing its next phase.
Thank you Mr. Cameron and many thanks David.
I still think however that Lawrence of Arabia is one of the all time best movies ever made.
Quatro
Comment by Bryn
Horrorphile
Currently my Top 10 in no particular order would probably be something like: District 9, The Wrestler, Wake in Fright, Moon, Cold Souls, The Escapist, Bronson, Synecdoche, New York, A Complete History of My Sexual Failures, Paranormal Activity.
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
And yes, I'm sure I'll agree about Lawrence of Arabia..............once I finally get around to watching it!!
I think this may just sneak into my top 10 Bryn, for the pure entertainment value of it. No doubt on those terms it's one of the greatest cinematic rides ever - maybe the greatest.
Moon, Bronson, District 9 and The Wrestler are all up there for me too. Hoping to put together a top 20 in a year-in-review type of post next week sometime. My personal favourite of the year however is definitely A Serious Man, loved every frame of that film.
Comment by Matt Shea
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic