Cloud Atlas is a very recent release, which I saw last
weekend; a collaborative effort by the Wachowski siblings (Lana and Andy) and
Tom Tykwer. The Wachowski siblings famously gave us the Matrix trilogy (shot in Australia) and Twyker gave us Run Zola Run (made in Germany) a
brilliant film that played with different media (like anime) and time (not
unlike Ground Hog Day, only different). Cloud Atlas was shot in
Scotland, Germany and Majorca, and, considering all its different scenarios
shot with conscientious realism, it must have been very expensive.
It has to be said straight away that this
film, with its 6 overlapping stories, all in different periods, and only
tenuous connections, won’t appeal to everyone, yet I liked it a lot. A bloke
sitting a couple of seats away from me kept looking at his iphone; a sure
indication of boredom. I suspect the only thing that kept him in his seat
(other than the outlay for his ticket) were the action scenes and any storyline
was irrelevant to his need for entertainment. Without actually talking to him,
this may be a harsh judgement, but I suspect he simply gave up trying to keep
track of the 6 interlocking stories; so, for many, this may be a flawed film. Even David Stratton (arguably, Australia’s most respected film reviewer)
who gave it 3.5 stars (his co-host, Margaret Pomeranz, gave it 4) said he’d like to see it again.
I think what saved the film, for me, was
that all 6 stories were good stories in their own right and they all followed
the classic narrative arc of setup, conflict and resolution. I thought the editing
between stories (especially at the beginning) was too frequent, but that’s a
personal prejudice. Once I got past the setup for each story (some took longer
than others) I had no trouble following them. I made no attempt to follow any
links between them (more on that below) and they all had the same theme, which
was human rights and oppression, and how it hasn’t changed historically, except
in its focus, and how it will continue into the future of our evolutionary development.
One story was set in the 19th
Century, 2 in the 20th Century, 1 in the present, and 2 in the
future. At almost 3 hours duration each story really only took up half an hour, therefore it didn’t drag, at
least for me. As a writer I like to have 2 or 3 subplots happening at once –
that’s how I write – so multiple storylines are not a problem in themselves.
The popular series, Game of Thrones,
has multiple storylines of 4 or more, yet I’ve never heard anyone say it was
too difficult to follow.
Only one character, as far as I could tell,
traversed 2 of the stories (in the 20th Century) and there was a
very clever link between the 2 future stories, which was only revealed towards
the end, and I won’t give it away, except to say (spoiler alert) that it
reveals how a mortal from the past can be seen as Godlike in the future. In
other words, they gain an iconic status as a result of their personal
sacrifice. I thought this was the singularly most germane insight of the
entire movie.
To call it ambitious is an understatement.
Even within individual stories, they play with time, using every storytelling device
that film allows, with flashbacks, flash-forwards and voiceovers. At least
once, I observed that the voiceover from one story continued into another story; to emphasise a common theme rather than any continuity in content. The trailer
emphasises the common thread in a mystical sense, yet, for me, that is not
what the movie is about. I thought the 2 future stories were the most
powerful, especially the near-future one. My advice to anyone viewing this is
just go with the flow; don’t try to analyse it while you’re watching it but just
treat each story on its merit.