A Scanner Darkly Film Review
May 6th 2007 02:57
NB: I have reposted this review as I was unable to change one of the options on the old version. The Orble admins will know what I'm talking about.
A Scanner Darkly Film Review
December 3rd 2006 07:04
'A Scanner Darkly''s title was teased out of the following extract from the eponymous Philip K. Dick novel - What does a scanner see? Into the head? Down into the heart? Does it see into me? Into us? Clearly or darkly? I hope it sees clearly because I can't any longer see into myself. I see only murk. I hope for everyone's sake the scanners do better, because if the scanner sees only darkly the way I do, then I'm cursed and cursed again.
A somewhat jumbled exploration of the disabling effects of drug addiction, surveillance culture and institutional power, it's brought to life by the rotoscoping technique director Richard Linklater first introduced in his 2001 offering Waking Life and is visually mesmerising. Keanu Reeves, Robert Downey Jr, Woody Harrelson and Winona Ryder offer their forms and voices for digital alteration, creating a intricate tale of dual identities and relationship fallout.
We are initially introduced to a drug addict's feverish hallucination that is visually accounted for on-screen, introducing the idea that things are not quite what they seem. This theme is further developed by the presence of people walking around in 'scramble suits', full-body gear which conceals the wearer's identity by projecting over a million different features, constantly fading in and out of each other. (This functions as a dramatic epitome of the film's ever-shifting animated style.)
It turns out that all of the main characters are addicted to an imaginary drug called 'substance D' and Keanu Reeves' conflicted 'Fred' is an undercover anti-drug intelligence officer who has joined the 20% of the population hooked on it despite himself. A flatmate he believes to be trustworthy (Robert Downey Jr) shows up at his headquarters to voice suspicions that he is involved in a covert terrorist organisation, which sets the stage for an investigation Fred must take into his own life.
A sternly contemplative, morose journey which features paranoid fantasies and delusions both humorous and disturbing, A Scanner Darkly broods over the detrimental effects of drug addiction, focussing on escapism and impairment. The narrative is too cluttrered by themes of mental passivity to truly reach out and startle the audience into a more sophisticated motion than it eventually dies, but i does make for a thoughtfully trippy experience along the way.
ASD uses multiple hues of colour (usually four tones of skin) to evoke remarkable visual depth, with the pixels constantly rearranging to simulate the natural movement of people and objects through a real life environment. Hairs pulsate with life, faces alter their shapes subtly as they move through space and of their own accord. We're constantly reminded that this futuristic Orange County is a world in motion, we are often movinq quickly through the use of automobiles, yet the plot doesn't shimmer with vitality so much as plod along, exposing various elements of the subculture it evokes - complacency, aggression, social and relationship dysfunction - as it goes. Several reviewers have commented that perhaps Philip K. Dick's tale, which is all about inner turbulence, isn't really suited for the big screen (Secret Window received similiar feedback), but Linklater managed to engage me here. I even went back to see it a second time...
Images from:
http://ffmedia.ign.com
www.telegraph.co.uk
http://tvhipster.com
A Scanner Darkly Film Review
December 3rd 2006 07:04
'A Scanner Darkly''s title was teased out of the following extract from the eponymous Philip K. Dick novel - What does a scanner see? Into the head? Down into the heart? Does it see into me? Into us? Clearly or darkly? I hope it sees clearly because I can't any longer see into myself. I see only murk. I hope for everyone's sake the scanners do better, because if the scanner sees only darkly the way I do, then I'm cursed and cursed again.
A somewhat jumbled exploration of the disabling effects of drug addiction, surveillance culture and institutional power, it's brought to life by the rotoscoping technique director Richard Linklater first introduced in his 2001 offering Waking Life and is visually mesmerising. Keanu Reeves, Robert Downey Jr, Woody Harrelson and Winona Ryder offer their forms and voices for digital alteration, creating a intricate tale of dual identities and relationship fallout.
We are initially introduced to a drug addict's feverish hallucination that is visually accounted for on-screen, introducing the idea that things are not quite what they seem. This theme is further developed by the presence of people walking around in 'scramble suits', full-body gear which conceals the wearer's identity by projecting over a million different features, constantly fading in and out of each other. (This functions as a dramatic epitome of the film's ever-shifting animated style.)
It turns out that all of the main characters are addicted to an imaginary drug called 'substance D' and Keanu Reeves' conflicted 'Fred' is an undercover anti-drug intelligence officer who has joined the 20% of the population hooked on it despite himself. A flatmate he believes to be trustworthy (Robert Downey Jr) shows up at his headquarters to voice suspicions that he is involved in a covert terrorist organisation, which sets the stage for an investigation Fred must take into his own life.
A sternly contemplative, morose journey which features paranoid fantasies and delusions both humorous and disturbing, A Scanner Darkly broods over the detrimental effects of drug addiction, focussing on escapism and impairment. The narrative is too cluttrered by themes of mental passivity to truly reach out and startle the audience into a more sophisticated motion than it eventually dies, but i does make for a thoughtfully trippy experience along the way.
ASD uses multiple hues of colour (usually four tones of skin) to evoke remarkable visual depth, with the pixels constantly rearranging to simulate the natural movement of people and objects through a real life environment. Hairs pulsate with life, faces alter their shapes subtly as they move through space and of their own accord. We're constantly reminded that this futuristic Orange County is a world in motion, we are often movinq quickly through the use of automobiles, yet the plot doesn't shimmer with vitality so much as plod along, exposing various elements of the subculture it evokes - complacency, aggression, social and relationship dysfunction - as it goes. Several reviewers have commented that perhaps Philip K. Dick's tale, which is all about inner turbulence, isn't really suited for the big screen (Secret Window received similiar feedback), but Linklater managed to engage me here. I even went back to see it a second time...
Images from:
http://ffmedia.ign.com
www.telegraph.co.uk
http://tvhipster.com
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Comment by JohnDoe
Film & TV on DVD
Comment by postmoderncritic
Postmodern Critic
Daily Inspirations
Relativity Watch
Padsoc
I should be back properly in a week or two, I'm really looking forward to catching up with everyone... Btw, if you're interested, Daily Inspirations is up and running again...
Comment by LaurenD
Well written and a pleasure to read. Good to reconnect with you in Blogsville.
LaurenD
Comment by postmoderncritic
Postmodern Critic
Daily Inspirations
Relativity Watch
Padsoc
A pleasure to reconnect indeed - hope to see you again soon!
Love,
PmC