Matt Kowalski: George Clooney
Warner Bros. Pictures
presents a film directed by Alfonso Caurón. Written by Alfonso Caurón and Jonás
Caurón. Running time: 90 min. Rated PG-13 (for intense perilous sequences, some
disturbing images, and brief strong language).
There are two historical
events in man’s history with space that kept coming to mind throughout my
screening of the new space thriller “Gravity”. One was the Apollo 13 mission,
which saw the astronauts of that mission avoiding disaster with surprisingly
low tech equipment and a good deal of improvisation. The events of that mission
were memorably put to film in Ron Howard’s most accomplish movie of the same
name. I was also reminded of the Space Shuttle Challenger mission, which met
disaster in January of 1986 when the shuttle exploded shortly after its launch.
One of the seven-crew members of this ill-fated mission was Christa McAuliffe,
a civilian teacher from New Hampshire. “Gravity” is a jarring reminder that
space is not the fantastical place that we often see in movies like “Star Wars”
or “Star Trek”, but an extremely dangerous environment in which our fragility is
magnified by the alien nature of its zero gravity conditions.
I don’t think it is by
accident that the main character in this harrowing movie is a woman and an
educator. I was in 8th grade when the Challenger was to fly its
mission, and with McAuliffe as the first American civilian and teacher in
space, every television in the school was tuned to the launch. It was one of those
days in history that you never forget. The parallels with Sandra Bullock’s Ryan
Stone to McAuliffe as a civilian woman tie a great percentage of American
audiences to the material in a more personal way than if the character were
male and a career military man.
The film depicts a shuttle
mission in which Stone has been commissioned to place new technology into an
American satellite. George Clooney joins Bullock as the mission’s commanding
officer, a veteran astronaut named Matt Kowalski. After debris from a Russian
anti-satellite test strike wipes out their shuttle and the rest of their team,
the two astronauts must devise some way to survive their ordeal in just their
suits and one space walk jet pack. They decide to try to reach the
International Space Station before the debris completes another orbit.
That synopsis makes their
struggle seem fairly simple, but it is not. The perils of space seem to have a
knack for multiplying at an exponential rate. Director Alfonso Caurón and his
co-screenwriter Jonás Caurón exemplify this in two different ways throughout
the film. First, they hit their characters with utter destruction. The sequence
depicting the space debris destroying the space shuttle mission is devastating.
In space there is no friction to slow the speed of objects when they are
projected in any direction, so nothing really slows down. The space debris rips
the scenery apart. Also, once anything is impacted it deflects in its own
direction with the same velocity. The result is a series of debris explosions
that take over the space that the astronauts occupy. It is total chaos depicted
with ruthless clarity.
When every object in the
world around the astronauts isn’t exploding into little fragments of death, the
Cauróns rely on that silence of space to make their point. Visually the silence
is accompanied by the vast darkness of space. The astronauts are alone out
there, without any sort of spacecraft. Despite their suits they are naked to
the cold clutches of nothingness. Even the soundtrack isolates them. They are
in constant contact with Mission Control (voiced by an uncredited and veteran
Mission Control actor Ed Harris). However, the sound is designed so we can’t
always hear what Mission Control is saying. As the characters get lost in the
peril while they wrap their heads around the situation, the sounds of their
jobs fade in and out of focus much like the images will fade in and out of
focus for a character who is losing consciousness. And, when communication with
Mission Control is lost, is raises the desperation level of the situation.
Mission Control also serves
another purpose in the structure of the story. It establishes the procedural
nature of the astronauts’ training. This purpose is two-fold by highlighting
the monotonous nature of their procedural system, which is contrasted by the
drastic unusual events they are forced to face. It also reinforces to the
audience how highly trained these individuals are. Everything has been
rehearsed over and over to the point that it is easy for the audience to
understand how their instinct can kick in for the survival situation, keeping
them going under circumstances that would crush the average person. That same
training is what makes it possible for them to continue without the presence of
Mission Control.
To call “Gravity” a
nail-biting experience would be a bit of a promotion to the notion of biting
your nails from anxiety. The phrase “edge or your seat” comes to mind. Even it
seems inadequate. Caurón never lets up throughout the entire 90 minute running
time. When the characters are out of breath, so is the audience; and then,
something else goes wrong. When at one point it seems there is no longer any
hope, the audience will understand if the characters decide just to give up and
let death come.
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