‘The Fountain’, Explained. 20.

The Fountain and Noah are, in some ways, companion pieces. He also appeared in Pi and Requiem for a Dream. In one of the most heartbreaking scenes put to film in my opinion, Tom makes an impression of his lost wedding ring on his finger where it used to be, using the pen and ink Izzi left him, as a reminder. 13. The Fountain is a major work of passion. I think it turns some people off. Every scene, every exchange of dialogue that happens between Izzi and Tom in the ‘present’ scenario is replete with heavy symbolism, also providing plot points for the other two narratives. 11. 19.

22. Sure, and it's even sillier in synopsis.

Libatique shot it very realistically, which was quite different from how the actual set looked. In many ways, Izzi’s parting gift to her husband was to help him come to terms with her death, while Izzi hoped to live on through the book, through her incomplete work. Although, as stated by Aronofsky himself, the film is like a ‘Rubik’s Cube’. In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for an exhibition of the Society of Independent Artists, the inaugural exhibition by the Society to be staged at The Grand Central Palace in New York. 6. OK, if this sounds more like a defense of "The Fountain" than a straightforward review, so be it. 16. All images property of their respective owners. The tree, however, dies just before the biosphere ship reaches Xibalba, (much like Izzi’s sudden death as Tom approaches a cure) and upon finally accepting his impending fate, and being persuaded by Izzi to “finish it”, he lets go right before the star goes supernova and achieves a sort of nirvanic state, bursting out of his ship and being absorbed by the dying star. In one of the many beautifully realised scenes in the film, Izzi and Tom sit out stargazing, when Izzi tells Tom about ‘Xibalba’, a nebula wrapped around a dying star, described to be the Mayans’ underworld, “a place where the dead go to be reborn”, and that she was writing a book about it. In the modern day (21st Century), neuroscientist Tom Creo (Hugh Jackman) wrestles with time to find a cure for his wife’s terminal disease using samples found from an old growth tree in Central America, a reference to the biblical ‘Tree of Life’. It begins with Tomas (Hugh Jackman, a boy a long way from Oz) as a 16th century Spanish conquistador exploring the land of the Mayans in search of the biblical Tree of Life at the behest of Queen Isabella (Rachel Weisz). Warner Bros. didn’t want an audio commentary for the DVD, for reasons that go unexplained. He tests these samples on an unassuming monkey only to record some progress but not being completely able to eliminate the tumor. 9. 14. With Aronofsky’s other efforts you get the same film you saw on first viewing, but that’s not the case with The Fountain. There’s repetition, silences, and at one point even Aronofsky said, “I’m still here.” When the commentary drags it’s easy to get lost in the movie instead, like Aronofsky often did. The movie has already been damned as silly and praised as audacious at film festivals from Venice to Toronto -- and both those assessments are valid, in part because of the movie's biggest aesthetic gamble: its earnestness. Since The Fountain could be cut together many different ways, Aronfosky hopes to one day make another version. Learn more. They're all bold attempts -- some more successful than others -- by passionate young filmmakers in their late 20s to mid-30s to sum up their own sensibilities and experience, to cram just about everything they know and feel, about life and about movies, on the screen at once.

It was interesting, but I felt that it may have overly complicated the story. In a fulfilment of the mayan theory, he quite literally gives rise to new life. The tree then flourishes back to life, another manifestation of Izzi’s “life after death” belief. He was more interested in psychedelic sci-fi when it came to The Fountain. 7.

28. I love how your explanation and the alchemical process of the story go so well together. It’s not like we need Aronofsky to tell us why that is, but he does an adequate job explaining how much The Fountain means to him. The crew was encouraged to shave their heads to play the monks, because they couldn’t afford enough extras. Video. The film employs three different, albeit somewhat related, congruous narratives to address its themes of man’s mortality and his ways of dealing with it, each separated by a gap of five centuries, popularly translated as the past, present and future. Read on! Incidentally so, that is exactly what the film deftly sets out to address, The End. The way cinematographer Matty Libatique lit the tree of life wasn’t what Aronofsky expected. Read More: The Sixth Sense Ending, Explained. 8. All images property of their respective owners. That scene, and the rest of the movie, could’ve been cut so many different ways because of the variety of emotions Jackman and Weisz gave Aronofsky. And "The Fountain" isn't so much about the quest for eternal life as it is about the will to stave off death. June 16, 2017. 29 Things We Learned From Darren Aronofsky’s ‘The Fountain’ Commentary Warner Bros. Hold on a second…”. Commentator: Darren Aronofsky (writer-direct0r). He doesn’t breakdown what it all means, but instead chooses to focus on the making-of and the kind of details that make his film grow richer on repeat viewings.

By all means, in the sense that Paul Thomas Anderson's "Magnolia" or Gus Van Sant's "My Own Private Idaho" or Martin Scorsese's "New York, New York" or Bernardo Bertolucci's "1900" are follies. That doesn't make for smooth, comfortable viewing, but I'd much rather watch somebody shoot for the moon when the stakes are sky-high than sit back while they play it safe. The final film ended up pretty much as written.

It’s a shame that type of sentimentality isn’t represented in film. Needless to say, he’s quite proud of it. Sap of a different kind inevitably seeps into the story, particularly the contemporary episodes, but Jackman and Weisz commit to their roles as deeply as Aronofsky does to his concept. Aronofsky offered Hugh Jackman the three parts after seeing him in “The Boy from Oz” on Broadway. Like Aronofsky’s other films, ‘The Fountain’ too deals with complex psychological themes, and is a hard film to watch, but one that is extremely rewarding as we approach the end.

Admittedly, there are times where it’s easy to clock out of Aronfosky’s commentary. Aronofsky saw Tom as a vampire, a character in the shadows. 3. There was an improvised scene between Ellen Burstyn and Weisz that didn’t make the final film. Ultimately Aronofsky cut it because he wanted to keep the film from Tommy’s perspective. I would be interested to hear your thoughts. Upon reaching its supposed location, a mayan pyramid, Tomás engages in combat with a group of pagans, is overpowered, and directed to the top of the pyramid where he meets a mayan priest with a flaming sword.

Aronofsky, director of the relentless "Pi" and "Requiem for a Dream," dares to hurl himself, and his movie, way "out there" -- in three narrative directions at once. 24. 25. 21. What, in Newton's name, would make a chain of beads rise and fall like water under pressure?

Aronfosky’s father had a cameo. Tomás does so, slitting his throat and proceeding towards the tree of life, applying its sap on his wounds, astonished to see them cured in an instant.

A nirvanic apparition of ‘future’ Tommy appears in front of the priest, who recognises him as the “First Father” and offers to sacrifice himself, to be set on the road to awe. Aronofsky was going to cut the “death is a disease” moment, but then he saw how important it was for the film. The Chain Fountain, Explained. He greedily drinks the sap in the hope of immortality, which is somewhat rejected by Tomás’ body, making plants spring out from his torso, gradually covering him completely and making him a ‘part’ of the tree of life. Yes, "The Fountain" overreaches on every level, and that's exactly what I like about it. The movie slips into the 21st century, where Tommy (Jackman) is a surgeon and research scientist desperate to discover a cure for the tumor in the brain of his wife, Izzi (Weisz), who is writing a fairy-tale book called The Fountain that includes the 16th century story. Also, through the recurring scene where Tom bluntly refuses to go out for a walk with Izzi to enjoy the first snow, denying her of a simple pleasure she seeks in her final days, Aronofsky tries to express the cycle of regret that Tom goes through for not having spent enough time with his ailing wife, eventually grieving his way to the bitter realisation and coming to terms with it, when he plants a sweetgum seed in her grave that she gave him in an apparition from the ending of the ‘future’ storyline.

© 2020 Cinemaholic Inc. All rights reserved. The film deals with man’s mortality, his feeble attempts to overcome it, maim it, or in ways change or delay the obvious outcome that accompanies birth, and his eventual coming to terms with it. Once again, no CGI necessary. “That’s acting, ladies and gentleman,” praised Aronfosky. Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". 1. Its character must accept the singular rule of the universe: everyone dies. The image of the tree -- the oldest living things on Earth, with their roots gripping the ancient soil and their branches reaching for the heavens -- is at the core of the movie, and the source of some of Aronofsky's most spine-tingling effects, from the tiny hairs on its trunk to its milky, essence-of-life sap.



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