Carmen Paddock feels the pull of Gravity.
It often seems that directors are using the new 3D format indiscriminately, without proper thought as to how it can best serve their cinematographic aesthetic and (most importantly) story. Alfonzo Cuarón’s latest project, Gravity – which he directed, co-wrote, and co-produced – is a happy exception.
Weightless objects in outer space are ideal for 3D, and each shot appears meticulously planned to maximise the medium’s visual effectiveness. Spacewalks, high-speed debris storms, floating flames, bodies swimming in air, and sweeping views of Earth seem to jump out of the screen and pull the audience into this magnificent but often nightmarish world, bringing the heart of the thriller to visceral life.
Cuarón’s intelligent direction succeeds on both artistic and dramatic levels, making Gravity an almost-certain contender for this year’s biggest awards.
Aside from Ed Harris’ voice as Mission Control (a brilliant nod to his portrayal of Gene Kranz, flight director of the lunar missions, in Apollo 13) and George Clooney’s surprisingly marginal role as the charismatic astronaut in charge of the mission, the film focuses solely on Sandra Bullock as Dr. Ryan Stone.
For the vast majority of the film she is the only person on screen. Initially, all the viewers know about Dr. Stone is that she is a highly-respected medical engineer on her first ever mission, but as they slowly learn her history through snatches of dialogue – nothing is revealed too quickly or blatantly – the stakes for her survival climb exponentially.
Bullock earns the audience’s complete support by portraying an imperfect, vulnerable, yet highly resourceful character. Every emotion and reaction feels genuine; this may be Bullock’s finest performance to date (and easily worthy of a second Oscar).
The storyline itself was a pleasing surprise; while the trailer gives the impression that it will be a fairly generic disaster situation film, it never feels stale or clichéd, largely helped by the brilliant cinematography and powerful performances.
The juxtaposition between the setting’s almost unimaginable immensity and tiny cast creates an oddly intimate atmosphere that keeps viewers involved at every stage of Dr. Stone’s harrowing journey.
Although (as the trailer states) there is nothing to carry sound in outer space, the film does have a soundtrack which appropriately captures the grand yet unbearably tense mise-en-scène.
One song in particular is poignantly employed at a pivotal plot moment. The music is contrasted with several shots in complete silence, as in reality; the latter’s eerie, stifling emptiness is so intense that, as effective as they are, the horror may well have been overwhelming had Gravity been shot without sound in its entirety.
Gravity manages to combine a strong plot with a truly stunning diegesis: from spaceship to solar system, this film reaches for the stars.
Carmen Paddock
exeposedev 