| Overall Grade: |
A- |
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| Story: |
B+ |
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| Acting: |
A- |
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| Direction: |
A |
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|
| Visuals: |
A+ |
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Come Together, Right Now, For This Treat
by Eric (movies profile)
Apr 27, 2008
29
of
30 people found this review helpful
There is a point of no return when you realize that Across The Universe is going to go farther than any musical you’ve ever seen. It’s a scene where Uncle Sam literally jumps out of the poster to grab a reluctant Vietnam draftee before his induction. From that point on, I was hooked onto the strange, psychedelic, and bizarre moods that this film went on, all set to the songs of The Beatles.
Julie Taymor’s Across The Universe is quite possibly that kind of film that sets the trends to come in how musicals are made and even perceived; not as darlings but emotional journeys with the songs as our guides. This is most likely going to be the most fun you’re going to have at the movies this year. That is unless you’re a Beatles purist, in which you might have just fallen through the ninth gate of Hell.
The film stars Evan Rachel Wood and Jim Sturges as Lucy and Jude respectively. He is an English dockworker who comes to America to find his father (after which, he stays for the fun of it). She is a high school queen whose boyfriend goes to be the first to fight (and die) in Vietnam. Her brother, Max (Joe Anderson), befriends Jude when he decides to drop out of college. As Jude and Lucy fall in love, Max is drafted, but not before living it up in New York, riding of Dr. Roberts’ (Bono) psychedelic bus, or catching a show hosted by Dr. Hand (Eddie Izzard). They make friends with fellow mod outsiders such as older rocker Sadie (Dana Fuchs), the cute if sad Prudence (T.V. Caprio), and the demon-haunted guitarist JoJo (Martin Luther McCoy).
So is that the story? Well, yes! Like Moulin Rouge before it, this kind of musical understands that the music is really the key to the film. While there is a couple of love stories (that goes through the obligatory stages of ups and downs) and the thing about Max going to war, the real reason we go is the songs, the dancing, and the visual look to this film, all of which are set pieces designed around The Beatles’ timeless music. I must admit that the selections are very commendable (there are the obvious such as Hey Jude and Lucy in the Sky with Diamonds, but Oh, Darling and With A Little Help From My Friends?), and yet what the film does is give each song it’s own different approach, sometimes even changing the tone of the song. Take I Want To Hold Your Hand for instance. The film instinctively treats the song with a desperate yearning instead of the joyful zeal of the original. Considering that the song’s intended love actually changes halfway through (probably one of the best twists in the film), this choice is perfect. And just how can you not appreciate the visual overloads that are I Want You and I Am The Walrus?
This film certainly has had its history, most notably the feud between Julie Taymor and her executive producer Joe Roth. After a bad test screening, Roth decided to edit the film without his director’s knowledge. I’m not certain about the resolution between these two, but I am certain that this theatrical release isn’t Taymor’s final cut. There are pockets where things do not mesh properly, characters like Prudence who seem to have their stories cut short, as well as other editing hatchet-jobs. And it in these holes that I cannot give the grade I want to give this film.
But again I reiterate that I love Across the Universe, warts and all. Most of that love is due to its visual, technical, and emotional lengths. This is the kind of movie you want to see in front row where it not only washes over you but also overwhelms you. You need to get lost in the wonders it brings to you. If only they showed this in the IMAX.
Ms Taymor and her team have created a film that begs to be seen more than once (as I really wanted to do and I wasn’t the only one). Her eye for visual flare puts the likes of Terry Gilliam and Tim Burton to shame (though Burton may have his revenge this Christmas with Sweeny Todd), not to mention Michael Bay. Bringing her Broadway knowledge into this production, she as well as her choreographer Daniel Ezralow (who also gets to play a dancing priest) set up some great dance sequences so truly inspired that it begs the Academy to create a Best Choreography category. And let’s not forget to mention the fantastic set designs, visual effects, and Elliot Goldenthal’s unsung score, all of which is worthy of Oscar gold.
All in all, I full-heartedly suggest this film to anybody who loves music and movies, although with some hesitation to the uber-Beatlemanias out there. I sometimes wonder if the Fab Four would have endorsed the film, or they would take offense as many of their staunchest fans have. Across The Universe brings the feeling of the Beatles to life in its production and story. It could easily be said that this film paints a romantic look on that age. That would be true. But with that said, who were the first ones to romanticize it? |
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