By Ian Rapoport
Executive Arts Editor
It has been almost seven years since director Alfonso Cuarón’s last extraordinary film, “Children of Men,” and although the talented director has been absent for a great deal of time, his return to the screen with the new film, “Gravity,” proves to make the wait more than worth while.
Utilizing some of the most advanced filmmaking techniques and detailed special effects ever seen on film, “Gravity” stands as one of the most unique movies in history. The combination of outstanding special effects with innovative cinematography and sound design, along with quality performances, excels “Gravity” to lofty heights rarely ever seen in the medium.
“Gravity” follows medical engineer Ryan Stone (Sandra Bullock) and astronaut Matt Kowalski (George Clooney), who are initially attempting to repair the Hubble Space Telescope.
While on their mission, they are sent adrift in space by debris from a recently-shot down Russian satellite that collides with their own shuttle. While attempting to avoid the continually orbiting debris field, the pair spends the rest of the film seeking nearby space stations for refuge, with only a rudimentary jet pack and dwindling supplies of oxygen.
The time spent elaborating on Stone’s tragic backstory adds an intriguing dimension to her character, while also emphasizing the devastatingly sympathetic nature of her situation.
Bullock succeeds in bringing Stone’s character to life. She responds to the escalating conflict of the film in a highly distressed emotional state, evident in one scene where she defeatedly curls up into a ball from shock in the first moment of the film that she finds safety.
This sensitive reaction is understandable in such extreme circumstances, and her inability to cope with this life-or-death situation makes her character relatable to the viewer.
Yet, Bullock is never overly dramatic, preventing her performance from becoming distracting. Her growing sense of bravery that develops over the course of the film is infectious.
The bleak nature of this film, revolved around two characters with a seemingly impossible chance of survival, is balanced with an almost equally feeling of optimism. This is most evident in Kowalski, whose comedic quips and witty anecdotes provide a light-hearted balance throughout the story.
While the idea of a film being set in space seems like the set up for a visually vacant set, the crisp and believable special effects of the film overcome this possibility. Earth in the background is astonishing and adds a sense of scale to the size of space, amplifying the characters’ desolation.
The satellites and space stations are also highly defined, demonstrating a realistic feel. The scenes of destruction demonstrate attention to detail of the film’s graphic designers, shown when facilities explode into thousands of pieces.
These effects are all enhanced by exemplary use of 3D. The effect is extensively implemented with each aspect of the film and is most impressive when the screen is littered in debris and destruction. However, it is never overbearing and flows naturally with the film.
In order to account for the lack of sound in space, the sound effects are minimal. Though initially this would appear to be a weakness, it actually becomes one of the film’s most intriguing aspects. Moments where space stations are torn to shreds are exhilarating, but seeing it all happen silently creates an impactful sense of disbelief and an even greater spine-chilling feeling.
This unique sound design is capitalized upon by composer Steven Price’s impressive score. Instead of generic drums and cymbals, Price utilizes synthesizers on instruments like trumpets and cellos, creating a score that is both completely original and cinematic. The tracks are set perfectly with each moment, reflecting both the intensity and anxiety in the film’s action-focused moments.
Cinematographer Emmanuel Lubezki’s distinctive style echoes the innovation seen throughout the film. The camera is constantly moving in and around the set-pieces with no real sense of dimension, authenticating the presumable feel of being adrift in space.
“Gravity” is one of those very rare cinematic gems that proves to be nearly flawless. Not only does it reestablish Cuarón as one of the greatest directors of this generation, but it also stands as the best film of the year, proving uniquely and engrossingly intense.
“Gravity” is arguably one of the most exciting films ever made and one that simply needs to be seen to be believed.
“Gravity” is rated PG-13 and is now playing in theaters throughout the nation.
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