The unbearable heaviness of loss

 

When I first encountered Mike Cahill's trippy meditation on love, loss, and the possibility of our souls living on past our bodies, I was intrigued. Upon re-watching, I would say intrigued has become impressed.

What I had remembered was that the film seemed to use a very Sci-Fi premise -- that our eyes' Irises contain the code, or key to our living souls -- to tell a very intimate story. Bio-tech researcher Ian Gray (Michael Pitt) working in NYC meets and falls in love with an elusive, butterfly-esque French woman (sounds a bit cliche, but go with it) and then loses her almost as quickly in a spectacularly horrific accident. The almost unreal heights of his passion translate to equally hard to swallow grief, but again, this doesn't kick us out of the story, thanks to Cahill's skilled story-telling.

Upon re-watching, I would say the Sci-Fi component is far more toned-down than I remembered, and the love-and-loss tone poem is really fore-grounded. Much to the film's benefit.

In order to work through his almost other-worldly grief, Pitt doubles down on his research, aided by Karen (played by the wonderful, and wonderfully-talented Brit Marling) and stumbles upon a remarkable discovery: it is possible that the key to an immortality of sorts is hidden in the Iris of every human being. Apparently, the Iris is the most unique expression of an individual short of their DNA, and Ian and Karen end up positing that after one person's body dies, their Iris can re-appear in another - and that that person will bear a remarkable resemblance (personality and spirit-wise) to the original.

Whether you buy this rather outlandish premise is somewhat unimportant, because the way it plays out in the last reel of the film is pitch perfect. It would be a spoiler to say whether Karen and Ian are able to prove their Thesis, but the path that takes them to their conclusion is lovely, touching and seemingly ready-made for this Indie "Sci Fi" film.

Definitely worth a watch of you like this genre, or even if you don't. Because, well, Brit Marling.

'The Vilnius Schoolmaster' Indeed

 

It is so interesting (at least to me) to re-visit films that I quite liked when I first encountered them -- many years later -- and assess if they still hold up. I am happy to say in this case, with John McTiernan's top-notch adaptation of Tom Clancy's Cold War thriller, it most definitely does. Hold up, that is.

Why?

In retrospect Clancy's flag-waving, almost jingoistic Spy Novels can be hard to take. Not the least because they are usually quite long, and complex. Said complexity partially informed by his deep of-the-time understanding of a simpler Spy Game in a simpler world. Hunt shows that in spades, for example in the nuanced way (white) hero Jack Ryan has to navigate both the CIA Beaurocracy and the Politically-charged Executive Branch to, well, save the world.

Leaving aside the novel, which I'll admit I did not read, McTiernan's crisp adaptation may or may not be faithful to the book, but is a crackling good filmic tale. The legendary Sean Connery chews the scenery as legendary Russian Nuclear Submarine Captain Marko Ramius, who in a fit of insanity has gone down a path that I won't reveal so as not to spoil one of the key plot points. Sufficed to say he has commandeered a Russian Nuclear Sub and has "gone rogue". Just let that sink in for a minute - even in todays' hyper complex world where the Russians, the Chinese and/or the pimply-faced kid down the street might bring whole economies down, a Nuclear Sub Captain still is, as the film slyly puts it "the most powerful man in the world". 

Attempting to thwart him is Clancy's Luke Skywalker, Jack Ryan, ably played by a very, very young Alec Baldwin. This is Baldwin pre-manslaughter trial, pre Cancel Culture. White, male, young, and ready to save the world. With the help, thank McTiernan and his Casting Director, of Admiral James Greer, played to perfection by the legendary African-American Actor James Earl Jones.

Am I using the word "legendary" too much?

You see where I am going here? I wanted to dislike Hunt because, well, it was a fairly straightforward film made during a much simpler time. But I can't because, well Jones, and former Senator Fred Dalton Thompson as a cranky, but thoughtful Carrier Captain. And the wonderful Scott Glenn as the American Sub captain who has to face down Ramius.

Besides the impeccable casting, Hunt features a tightly-written screenplay that makes its two hours plus running time feel like 90 minutes. And solid, pre-CGI production design that, I think, includes a couple of almost laughable early CGI effects. 

But the proof, to coin a phrase, is in the casting, and acting. The casting is one of the best ever in "pulp" style thriller -- who would have thought to cast Beetlejuice's Jeffrey Jones as a wheelchair-bound Sub engineer -- and the acting is, excellent. The scenes between Jones and Baldwin are great, especially when you consider Baldwin was probably terrified to appear on screen opposite the voice of Darth Vader. And Jones's brief scenes with South African actor Joss Ackland as the Lying Russian Ambassdor from Central Casting (remember him from Lethal Weapon, Part 2?) are really quite wonderful.

I could go on. Well, OK, I will. What about Dr. Frank-N-Furter himself, Tim Curry as an obsequious "Political Officer" who almost torpedoes Ramius's plans before they can get underway? (see how I did that?). Or legendary Kiwi (not Australian, BTW) thespian Sam Neill as another Russian Sub Captain. The only complaint, possibly, is that this is a major Sausage Fest. Either such were the times (as is lamely said) or Clancy's novel featured nearly no women in important roles.

Nonetheless, you find this fine adaptation on Showtime Anytime, or Fubo (wait, what?), or for Heaven's sake buy the Special Edition Blu-ray or 4K edition, or buy or rent on Amazon. You will not regret it.