Around the Clock — Looper

This review contains devastating spoilers!

Review: Time travel functions with unique philosophical efficacy in science fiction and fantasy stories.  By nature, time travel tests mortality, explores sequences of moral cause and effect, and transcends cosmic expansion and collapse.  In other words, time travelers are analogous to storytellers — through their devices, they alter our perceptions, making us painfully aware of our human frailties even as they give us a god’s-eye-view.  Storytelling, like time travel, transcends the space-time continuum to which our bodies are bound.  Through them we revisit past mistakes and explore possible futures.  Therefore, the time travel conceit, as well as storytelling at large, are both permutations of spirituality.

Rian Johnson’s ‘Looper,’ by narrating a conflict between two versions of a self, embraces the mystical side of time travel.  Consequently, its logic is moral, rather than purely temporal.  Johnson’s script invokes temporal logic — namely, the titular loop — as a metaphor for a cosmological concept.  In this way, Johnson stands firmly within the tradition of classic science fiction authors like Ray Bradbury and Philip K. Dick, who used genre tropes to weave fables.  Young Joe  (Joseph Gordon-Levitt, in great make-up) and Old Joe (Bruce Willis, doing great work) constitute a temporal loop that, like Yogic philosophy’s wheel of samsaras, keeps recycling the same bad choices over and over.  In effect, Joe’s loop renders him eternal, as despite his inevitable death his choices lead inexorably from past to future to past and back again.

Now, I’m about to spoil the ending, but it’s necessary to make my point, as to quote FilmCritHulk, “the ending is the conceit.”  Joe’s eventual solution to the horrible cycle first requires a moment of clarity, discerning the loop — an insight analogous to Buddhist enlightenment — followed by redemptive self-destruction.  By death, Joe transcends death, as the destruction of his loop restores harmony to the story world.  Director Johnson’s latent Christianity suggests a Christ parallel, but it’s far more likely, given the thematic significance of cycles, that the Yogic — and by extension, Buddhist — interpretation better fits the film.  Joe’s self-sacrifice is analogous to ego-death, which, in Yogic philosophy, ends the painful cycle and liberates consciousness.  An individual, so liberated, brings balance to his or her surroundings and reduces suffering — exactly like Joe.

It gets better; not only does Johnson’s take on time travel befit mysticism, it speaks to an effective storytelling ethos.  Old Joe, in trying to prevent a tragedy, attempts to rewrite history.  We process time as narrative, splicing memories — like film strips — into logical order.  So Old Joe’s mission is to tell a new story.  However, like his younger self, ego blinds him.  He sees only the historical narrative’s tragic impact on his fortunes.  All other persons and interests become expendable before his ego; he is, therefore, unable to tell a new story.  Young Joe receives enlightenment when he realizes that Old Joe’s selfish (not to mention murderous) rewriting actually ends in the same way that Old Joe tries to prevent — hence the loop.  The only way to write a new story, then, is to wrest the pen away from ego.  Truly inspired, effective storytelling is by nature generous, transcending one person’s interests and harmonizing within the larger human community.

‘Looper’ works because Johnson embraces a thoughtful conceit and lets it structure the film like DNA. Every scene, character and subplot relates obliquely to this DNA strand, even embedding time travel’s mystical dimension into virtuoso sequences of sex and violence.  An all-around brilliantly conceived and executed film, ‘Looper’ vindicates its conceit, genre, performers and director.

Advertisements

Tough Love — (500) Days of Summer

By contributor Patrick Zabriskie

Review: As I said once before, we don’t really review “chick flicks” (or, films about relationships in general) on this website.  Partly because James and I are men and we have more masculine tastes; partly because they are an easily exploited genre, and finding truly worthwhile films to review can be, well, cumbersome.

That said, 2009’s cult hit ‘(500) Days of Summer’ is a little different.

I suppose people might have thought it was traditional romantic stuff when the film first came out.  You know, boy meets girl, they fall in love, a lot of “will they?/won’t they?” before they finally do.  But that’s not what ‘Summer’ does.  Very boldly during the opening, it announces that the boy and girl will NOT wind up together at the end.  Crazy, right?  But it works, for the most part anyways.
Tom Hansen, played by Joseph Gordon Levitt (‘Inception’!), is a young romantic who believes in true love.  Summer Finn, played by Zooey Deschanel, is a coworker who does not.  They slowly begin a relationship (though Summer maintains that they are not boyfriend and girlfriend), and the film, told from Tom’s perspective, chronicles 500 days of it, through good and bad, through their break up, and what we conclude is their final goodbye.  The entire film is told nonlinearly, showing their break up early in the movie, which, combined with the film’s opening promise that they won’t fall in love, manages to keep us involved throughout; we, like Tom, look back through the past to see what went wrong in their relationship.

But that’s just it: their breakup, sad as it is for Tom, is not due to any flaws in either his or Summer’s personality or any mistakes they made.  Neither was a bad person, neither was unreasonable.  Though it could be assumed that they broke up because of their different views on love, this isn’t really true.  That Summer does learn to believe in love at the end of the film (albeit with another man) shows that she was not beyond growth.  She admits that Tom was right about love, just not about them.  So, nothing really went “wrong,” beyond that they simply weren’t right for each other.

Thematically, this reminds me of the biblical Book of Job, which tells the story of a man who, while virtuous and god-fearing, still suffers greatly in his life.  The point of that story, I think, is that, while we like to believe that we can, in some way, “earn” a good life, we are ultimately always at the mercy of others, always subject to forces beyond our control.  Bad things do happen to good people.  And so it is with love.  We cannot win love, we cannot earn it, we do not deserve it, and we are not entitled to it.  Love is simply given and received.  All we can really do, then, is share our own love with others, and hope that they return it, knowing full well that it doesn’t always happen.  That, I think, is what Tom learns at the end of this film.

I said that ‘(500) Days of Summer’ mostly works.  It’s very well-crafted and creative, and I think it was right for someone to make a movie that, while not completely realistic, more or less draws from realty.  In that sense, ‘Summer’ is a very unique, important film.  Perhaps the only thing about the film, though, that doesn’t really work is the ending, which implies that, for Tom anyways, true love is “just around the corner”, which, while ending the film on a hopeful note, feels a bit forced.  But I won’t fault it for that.

That said, for those of us who have gone through what Tom Hansen went through, the film is a little painful as well.  It is uncompromising in showing that sometimes the people we love don’t love us back the same way, and sometimes our greatest hopes and dreams are smashed in front of our very eyes.  It’s a bitter pill to swallow, and while I’m glad I watched the film, I can’t see myself watching it again any time soon, if only because the experience itself was so harsh.

‘(500) Days of Summer’ is the kind of film that comes only occasionally, although that’s more than sufficient.  It’s a “tough love” story for the audience that will challenge more than comfort.  But it’s also a very good, truthful film, reminding people that, sometimes, even Summer has to end.