GRAVITY Soars

Some films (Castaway, 127 Hours) have a simple premise, a basic tale of survival, devoid of large casts and complicated plotlines.  Co-written with his son Jonás Cuarón, director and co-writer Alfonso Cuarón (Harry Potter and the Prisoner of Azkaban, Y Tu Mamá También) has combined state of the art technology and remarkable acting by Sandra Bullock in a spectacular, tension-filled adventure, Gravity.

 

American astronauts Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney), work on repairs to the Hubble space telescope as news of a nearby Russian satellite explosion is reported.  The quiet serenity is suddenly displaced by hurtling debris that decimates the repair mission and causes great damage to the telescope and more.  Caught up in a life threatening disaster and stranded in space without any hope of rescue, the two must improvise and utilize survival skills to survive under impossible circumstances.  As hope fades and oxygen running low, the astronauts must make difficult choices to make it home alive. 

Caurón successfully conveys the emptiness and vastness of space and how isolated it can be.  What is remarkable is that this film could not have been made so convincingly until now because of recent technological developments.  Even director James Cameron (Avatar), who was consulted early on, championed the film’s ambitions for space realism that was years in the making.  A ground breaking achievement in visual effects, not since Stanley Kubrick’s 2001: A Space Odyssey or Apollo 13 has a film so realistically depicted space travel.  Even the realistic use of sound or lack of it enhances the authenticity.  Great care and research obviously went into the production. 

The film boldly starts with a continuous panning shot for thirteen minutes with nary a cut.  When was the last time a major Hollywood film did that?  There are some remarkable shots in space like the one instance where Bullock is in a womb-like position which acts as a metaphor of life.  Gravity deserves to be seen in 3D (perhaps the best 3D film since Avatar) which opens up the magnitude of the visual effects.  When did any 3D film show a person’s tears?  This one does.  The realism and emptiness of space will be hard to match so convincingly in future films. 

Cuarón establishes a basic premise and creates a major conflict while continually upping the ante of impending danger.  The suspense is palpable as we feel as if we are there with Bullock and must figure a way to first get out of harm’s way and then to go home to earth.  The one film this reminds you of is Marooned. 

This is Bullock’s (The Blind Side) show all the way as you feel her fears amid every threat; she is in virtually every shot.  We learn to understand her feelings and get a glimpse into her past about her regrets in life.  Paradoxically, space becomes a place to escape her past or prove to be her death.  One major theme for her character is learning to let go whether it be a painful past memory or letting go of something in the here and now.  It’s about finding a reason to live and finding a deeply personal redemption under the most trying circumstances. 

Clooney lends strong support as her veteran colleague and voice of reason who offers instructions and calm amid tragedy.  You will never guess who voices mission control, but here’s a hint-see Apollo 13.

 

Sure, despite convenient coincidences that facilitate some plot points and a couple situations that are a bit hard to believe, Bullock sells it with her conviction and desperation; you buy into the situation regardless even if it may be hallucination or a dream.

What should be noteworthy is the fact that Gravity is rated PG in an era when PG13 and R rated major releases dominate the marketplace.  And it runs a lean 90 minutes.  How such a simple tale of survival and hope becomes not only totally engaging but such a compelling, landmark work of cinema is the lasting legacy of Gravity.

**** of **** stars