Interstellar – Anything is a Possibility
UK Release by Warner Brothers – 7th November 2014
Directed by Christopher Nolan
Brief Synopsis: Mankind was never meant to die on Earth; food surpluses are running low and the time to find a new habitable planet is running out. When a wormhole is discovered in space that can transcend the galaxies there is hope for a new dawn – it is time to go exploring!
Interstellar is exploding with vision and the essence of possibility. Certain scientists may disregard the film, but they miss the fundamental reasoning and this is one of the imagination; the fact that there is always a possibility in an imaginable space and therefore the ‘what can happen, will happen’. Christopher Nolan has done it again: he has created a truly global piece of cinema (in bold) with enough human touch and intellect to satisfy an old age pensioner, a middle-aged philosophy professor, or a 15 year old popcorn-muncher who is yet to develop responses of real human emotions.
The plot cannot be busted in terms of its storytelling composition; every turn and fastening of the plot is thoroughly constructed and climatically engaging. However, it is beyond the ‘mogulised methodology’ of structure; it takes risks and brings a new dawn to what has become Nolan twist. Complete psychological fixation is an understatement to what Nolan achieves in his audience. He has captured the essence of cinema, which has always been to utilise the psychological tools and emotional constructs of the medium, in other words, withholding the suspension of disbelief. We are reminded how powerful the hands of the filmmaker can become.
Nolan is a dreamer who achieved, and now he has inspired a new generation of dreamers. Besides the wannabe astrologists who now may believe they have wings, the dream factory isn’t necessarily a bad or dangerous thing. If there is something we could all do with a little bit more of, it is surely motivation. Whilst this observation on the lack of motivation in our society may be biased towards my Monday morning train commute, this in itself is all the more reason for my reasoning: the working environment should be the dream, the place where dreams can come true. I am sure when Nolan travels to his set during the early hours that there is no place he’d rather be to inspire, dream and stay motivated.
Matthew McConaughey might as well be speaking out to the Academy in his performance of a passionate family man born into a world that he will change for the greater good. His role and his groundbreaking performance have it all from holding the weight of the human race at his fingertips to the heart-breaking father-daughter relationship in bursting sentiment. I was surprised to shed a few tears and let out a few laughs during this film. Perhaps, Nolan has exceeded the multitude of magic that the silver screen can behold and created a fresh monogamy that transcends all levels of audience participation. He has reached Spielberg’s playing field, a field where goals are scored every five minutes – now, there is a happy audience.
The supporting cast is superb (Matt Damon is the only off-shot). Every casting choice, spot of make-up and brush of hair is matched to perfection (Mackenzie Foy could be a clone of the elder Jessica Chastain). Every millimeter of design is spectacular (the practical effects of the dirt storms are breathtaking). Every camera set-up is slaved to perfection and totally immersive. Every clank of sound design could be from the depths of a hurricane. And, not finally, the score by Hans Zimmer is absolutely triumphant at capturing each moment of film and adding to the memorable experience; it may just help lift you off the ground too.
Coming out of guerilla warfare (or, independent filmmaking) in the 1990s and not letting an inch of possibility slip away, Nolan is the answer and the epitome of inspiration and motivation for the aspiring filmmaker. But, please, no more space movies (unless you are Chris Nolan or Stanley Kubrick raised from the dead)!