Fantasy “Source code“. How to correct past mistakes?
So left that I personally for myself divide all movies into two categories - background and real. It is informal terminology therefore I will explain on an example. There are tapes which perfectly look on any screen, from smartphones to IMAX movie theaters. They also perfectly are suitable for viewing in kitchen (in the course of cooking), in the car (in the course of a head fulling) or as a background at a party in honor of New year or Day of the paratrooper. They can be looked watchfully, reclining, on the exercise bike or in general only to listen, being distracted by rare gleams of talent of creators. Such pictures - absolute majority.
And at the same time periodically tapes which literally tighten in themselves catch sight. No, you can always press a pause to prepare tea or to receive a call, but at the same time is felt that you tore off from something important. And from the beginning of final credits you do not wish to come back forcibly to routine reality, still feeling interrelation with characters with which you sympathized for one and a half hours of screen time.
However, there are enough metaphors because on the agenda new creation of the director Duncan Jones whom it is possible already to cease to call David Bowie`s son (though he will not cease to be him). Jones by right deserved own glory, having removed brilliant science fiction “Moon“, and now having continued begun with the fantastic thriller “Source code“.
… Coulter Stephens (Jake Gyllenhaal) is not the pilot of the helicopter plowing air space of Afghanistan any more. Itself without knowing as, the pilot appears in the close locked room, and its only communication with the outside world - a small screen of the monitor overlooking a certain captain Goodwin (Vera Farmiga). Its mission consists in search of the unknown terrorist who blew up the high-speed train on the way to Chicago. The soldier has only eight minutes to get used to a role of the school teacher Sean Fentress who died together with other passengers at explosion.
Only eight minutes to find a needle in a haystack. Coulter is forced to come back over and over again to the last moments of the ill-fated train, trying not only to find a bomb, but also the villain promising to put the second charge in the densely populated district of Chicago. Thanks to the latest technologies using the remains of memory of the died teacher, Stephens has an opportunity to come back to the past, but, alas, only as the observer, but not the ruler of the destiny.
However it is much bigger, than the destiny of passengers, concerns the soldier his own fate, and also the future of the nice fellow traveler Christina (Michele Monakhen). Mysterious people on that side of monitors are suspiciously avaricious on details, and Coulter`s memory imprinted only the last fragments of his fighting departure. Not echoes of the past disturb Stephens especially as, on assurances of lame scientific doctor Ratledzha, the Source code program is only the emulation not capable to introduce amendments in the past events …
Many will see in new work of Duncan Jones obvious parallels with a last year`s film hit of Christopher Nolan “Beginning“ and will be right and are not right at the same time. On the one hand, directors are obviously united by desire to create cinema for the thinking viewer burdened with existence of intelligence. Both with pleasure create in a genre of science fiction. And syuzhetno “Source code“ and “Beginning“ in something are similar. Not in details, but as envisioned, in the direction of flight of thought.
On it, actually, common features of two pictures are settled. Nolan in a stock had venerable movie stars, the huge budget, a ballyhoo and obvious, though illusive, claims for Oscar. At Jones and the budget more tightly, and ambitions not so extensive. But all waited for the second movie of Duncan. And, I dare to assume, were not disappointed. Well, only if trifle.
If we began to compare “Source code“ to “Beginning“, it should be noted that idea superiority over the embodiment became the main problem of Jones. Perhaps, lack of due experience affected. Or perhaps haste. Or there is too much ideas, and the scenario - only one. Nolan created the large-scale Universe while Jones and the company only threatened on a similar desperate step. Despite the general positive impression, the picture leaves feeling of some skomkannost. Especially it strains in the final when, apparently, authors have to place all points over i, and instead confuse the viewer even stronger, leaving by the beginning of credits with full confusion in the head.
The people who got used to approach critically questions of distortion spatially - a temporary continuum in cinema, to “Source code“ will also have many questions, however all of them will be left in the basket of this review because we risk to tell too much. Nevertheless, which - what disagreements and mistakes are present at a picture, but it is hard to notice them on the action course because the tape removed in a genre of the fantastic thriller takes from first minutes and does not release attention of the viewer till the end. Creators very much even succeeded in it - “Source code“ is perfectly mounted that is important for the history occurring within two - three scenery.
Financial progress of “Source code“ does not blow the mind. And on that is two good reasons. In - the first, authors overloaded the movie with riddles a little that frightened off the audience who is looking for from a visit of movie theater only entertainments. In - the second, to the final in a shot fairly increased sentimentalities and desperately began to smell Hollywood. Notorious hepp - and in which - that eyelids seemed sewn by white threads, especially sharply contrasting with forcing of dramatic nature in the second half of a tape.
Verdict: the prompt, competently put thriller with numerous fantastic frills and movements in time. And though military appear in a shot, this time the Hollywood production did without tons of pathos and ardent speeches. As well as in “Moon“, Jones addresses scope of the conflict of the people and technologies which are allegedly directed to improvement of life again. The artificial intelligence is higher, the less time remains on humanity manifestations.
The value of “Source code“ is that quite accurate questions on which we still cannot find answers are behind purely entertaining essence. Whether justifies the means purpose? How much is human life in modern hi-tech society? And how to reach compromise between love for the neighbor and compassion to millions?