iSphere
Random Ramblings - almost always cinema related///
War of the Worlds - A Shattering Scifi
Published Wednesday, June 29, 2005 by Blogpur | E-mail this post
It's not always a question of the story - sometimes it's all about application. It's the way the master film maker uses the story to deliver messages that is the most interesting, powerful and unique. Spielberg leaves out all the cliche's of epic disasters and crafts a truly poignant tale of the average man caught in the wrong place at the wrong time.For the most part of the film, Spielberg walks an extremely thin tightrope in terms of the balancing act of a small family in the middle of America and the large scale destruction that is going on, in fact in many scenes it is rather the subtleties of men's psyche that is brought to the fore, even overshadowing the amazing graphical touches.
In his narrative, Spielberg exploits much of the American psyche and even attacks the United States - Morgan Freeman subtly hints that every race and country should remain on its own ground or face unanimous defeat - Spielberg would make a good politician, he knows more about the world than the current President of the USA. Parenting and the effects of divorce on children are also openly left for questioning. Spielberg even attacks journalism and extent to which journalists go in order to gain ratings - they do everything but tell the truth. All of humanity's so called intellectually engaging repetoires including Religion, Economy, Diplomacy are also showed in a different light - when it comes to life and death; man is an animal, none of the factors listed affect his judgement.
Scene after scene, Spielberg creates an inherently treachourous atmoshpere, this is easily some of the most gruesome, disturbing and jarringly nihilistic worlds seen in a science fiction film, we all knew Spielberg was exploring his dark side in films like Minority Report, but here he goes far deeper into regions uncharted by many a film maker, indeed this film is one of the most sardonic, visceral and haunting ones put to film. Spielberg stays away from stereotypes: there are no major buildings being blown up and there is no camera crew to be seen in such a situation. Perhaps the greatest scene in the film comes when we are introduced the armed forces, Spielberg could have fallen into a rather open trap, but pulls his strings back: he shows less but creates more.
The surprise packet amongst all the continual destruction is the characterisation and the acting. Spielberg has not sacrificed on the humanising aspect of the film and creates a heavily flawed central character who is often bettered by his children and luckily Spielberg avoids the trap of making the central character a superman type figure, starting as a heavily flawed man, Spielberg shows us just how much good can come about personally through tough and demanding situations. Tom Cruise (subject to much ado about nothing off the screen) turns in a rivetting performance. Portraying a rather complex character, Cruise brings in real emoting, and his frequent relationships with his daughter seem to be full of great chemistry. Dakota Fanning, in turn, gives a wonderful performance, she is in the shoes of her character perfectly and is an able foil to both her father and brother.
Janusz Kaminski must be congratulated for his extremely powerful camera angles and effects. In one sequence, Cruise is speeding off in his van on the highway; Kaminski elects to have a sweeping and circling shot of the car. When watching this sequence I was in disbelief, halway through I knew this wasn't an editing job - how Spielberg and Kaminski pulled that one off is beyond me. Kaminski's touches are throghout and the use of ligthing is specifically powerful in order to create and maintain tension. This is best seen in the basement scenes in both Otto's house as well as with Ogilvy. Kaminski, easily one of the finest cinematographers comes in trumps in created a memorable picturisation with plenty of little classy touches throughout. Editor Michael Kahn has used some sporadic editing with wavering ideals - indeed a film of this nature is perfectly suited and as such perfectly compliments it.
John Williams, a stable Spielberg workhorse creates a tension filled score which, while not epic serves extremely well to compliment the moody nature of the film and remains fresh, inspired and powerful throughout.
Entertainment is available in vast amounts in the film, enough is being blown, torn apart, killed and stomped to create a highly satisfying action adventure, but War of the Worlds is not that, it is rather a poignant tale of the coming of age of a parent, a sordid tale of fatherly love, a magical tale of good triumphing over evil and ultimately a compelling saga in parenting; Spielberg is adept in mixing genres and this pays of handsomely in the film.
The ending is a little abrupt and somewhat contrived but completely adheres to the original souce material: those who haven't read the novel may seem cheated, but those who have will understand fully Spielberg's intentions. However, there is one serious flaw in the character of Robbie, Ferrier's son. In a film that so well contrasted being torn apart between his son and daughter, Robbie should have been dead. Spielberg resorts to the traditional sappy ending, it just doesn't work.
While not some seminal masterpiece, War of the Worlds is a wonderful film that stays with you long after the film is over. Spielberg once again proves that in order to enjoy entertainment, the brain need not be left outside the theatre.
Spielburg blew it in the end partly. He cant avoid the mushy family reunion and the irritating character of Cruise's son Robbie(who I wished would die halfway) hugging his dad in the end drew a few guffaws in the theater. The ending with regard to the aliens was anti-climactic to say the least
"Spielberg once again proves that in order to enjoy entertainment, the brain need not be left outside the theatre."
Thats more applicable to Minority Report where it took you a while to figure out the numerous paradoxes and possibilities, not with this film where every scene leads to a predictable ending.And Tom Cruise, the inept father, somehow unbelievably eludes all those rays while people around him are getting fried up all the time.Its also amazing how his is the only car in town that works, just with a change of the solenoid. I guess a car needs just the solenoid to run. No clear reason given in the movie for the aliens planting red weeds either, especially since they are'nt martians as was probably the case in the book. And then quite a few scenes reminded you of earlier movies like Signs, Abyss and some self-quotation from Spielburg's own E.T and such.There are other inconsistencies or plot holes not convincingly plugged.
I cant give credit to Spielburg for just avoiding cliches. I read somewhere that his crew even systematically made a list of all cliches in previous movies in a conscious attempt to avoid them. But that by itself, doesnt add much to the movie.
I liked the movie. I felt that alot of true human emotions when tried are as he had portrayed. The end was an abrupt because the solution was so simple for a huge problem..briliant but perhaps that is what killed the movie because everyone expects humans to solve th problem...but God did it...