After the release of “2001: A Space Odyssey” in 1968, they said the game had changed. They said the game changed again in 1977 with “Star Wars,” and again in 1993 with “Jurassic Park.” That said, there are no words that can accurately describe the beauty, the spectacle and the intensity of “Gravity.” In 2013, the game has changed once more.
From writer and director Alfonso Cuarón (“Harry Potter and the Prisoner of Azkaban,”), “Gravity” follows Dr. Ryan Stone in a desperate attempt to return home after a disaster in space. While working on the Hubble Telescope with mission commander Matt Kowalsky, a veteran astronaut, a shower of debris from a destroyed satellite bombards the telescope and space shuttle.
With everyone on the space shuttle dead and communications with Mission Control cut, Ryan and Matt attempt to reach the International Space Station alone. And this is in only the first twenty minutes. The next hour in events contains more than just a mere survival story in space, although that would have been plenty enough.
It’s difficult to describe the opening shot of the movie. Partially because the first shot is 14 minutes long and conveys a large amount of information that the audience needs to know. It’s also difficult because the portrayal of weightlessness in space is better than any film I’ve seen. That first 14-minute shot sucks you into the world of our hero and the feeling of weightlessness fills the body until you feel like you’re floating with them.
The first twenty minutes of “Gravity” is the best technical filmmaking in at least a decade. The entire film is the best technical filmmaking in several years.
With most films primarily built on showcasing the computer-generated effects, the characters and story often get pushed to the backburner. But this film would be nothing without the protagonist and her foil.
Sandra Bullock’s portrayal of Ryan Stone is phenomenal, in part because of the physical acting with only a green screen to work off. Bullock brings heart, soul and humanity up to the space station with her. This is an underdog story unlike any other and Bullock portrays an everyday American woman outstandingly. It is by far the best performance of her career.
Opposite of Bullock, George Clooney plays up the role of Matt Kowalsky in true Clooney fashion. He’s not only easy going and charming, but gives off the vibe of being the most intelligent person on the mission. Because Matt has more experience than anyone else (he’s only 70 minutes away from breaking the longest space-walk record), Ryan trusts his leadership completely.
Along with holding full authority over the mission and possessing a commanding demeanor, Matt also holds the role of all-around jokester. His cracking of one-liners and telling stories of Mardi Gras 1988 keep everyone at ease, just as a commander should. Although some have considered Clooney’s character too charming and too calm, especially after the shuttle and telescope’s destruction, he has no other choice.
If Matt shows any signs of worry, Ryan will lose it. He’s a hotshot, but he’s a professional, first and foremost. Ryan is not a space professional. She’s a doctor fixing the telescope: all the more reason to root for the underdog.
Though playing homage several times to “2001: A Space Odyssey” and “Solaris,” the philosophical themes in the movie do not overwhelm and take over the story, but they are present. Religion, life stages and man’s role in the universe show up regularly enough, driving forward the story and develop Ryan’s character in almost effortless ways.
The score, like everything else, is astounding. The combination of a traditional film orchestra and electronically generated sounds, beats and rhythms provides a haunting soundtrack for space. Many of the most intense and emotional scenes have and equally intense and emotional score accompanying every frame.
However, there is neither distraction nor over usage of the music. When the score is absent several times, the silence is powerful, demonstrating the true terrors of a silent space. As with every other element in the movie, the balance is perfect.
As writer, director, producer and editor, this is Cuarón’s baby and masterpiece. His mission of making audience members believe the film takes place in actual outer space makes the payoff that much more rewarding.
We believe Bullock and Clooney are in space. We believe they could die. We want them to make it home alive.
With no complaints in any aspect of the film, this is the best film of the year. “Gravity” is intense, mature and all science, no fiction. And it’s deserving of every bit of admiration and praise possible.
4 Stars (out of 4)
~Kellen M. Quigley
(This review appeared in the Oct. 17, 2013 edition of The Salamanca Press.)
Quigley Films Unlimited 