David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
The irresistibly named Poppy (Sally Hawkins) is a wide-eyed--accentuate the positive--cheerleader of a school teacher with an attitude that says “I want to be your friend.” She is endlessly Happy Go Lucky and even several encounters with those who don’t share her optimistic outlook can’t seem to knock her down. The film doesn’t have a traditional plotline but rather is a series of recurring scenes from her life. After her bike is stolen she decides to take driving lessons from an increasingly frustrated instructor (Eddie Marsan). Their frequent episodes grow more intense each time as the lessons tend to bring out the pent-up anger of the man trying to teach Poppy how to make a left turn. She also takes Flamenco lessons from a loopy Spanish dance instructor (Karina Fernandez) gets romantically involved in an intense relationship with a social worker (Samuel Roukin) spends time with her best pal and roommate Zoe (Alexis Zegerman) who provides a soothing counterpoint to Poppy’s non-stop cheerfulness and tries to deal with problems involving her sisters (Kate O'Flynn and Caroline Martin) and brother-in-law (Oliver Maltman).
Leigh is known for an improvisational style of filmmaking spending months working everything out with his actors in rehearsal and then letting them do the scenes with only an outline of what it will be. In this environment actors have to be top notch and indeed Leigh has elicited a few Oscar-nominated performances in the past including Brenda Blethyn in Secrets & Lies and Imelda Staunton in his last film Vera Drake. Add Sally Hawkins to the top tier of actors in Leigh films. She is in nearly every scene and the film lives or dies on her inherent appeal. We are with this irrepressible life force from the very first moment she hits the screen with her rather garish but colorful outfits and unflappable demeanor. Hawkins is a breath of fresh air a real discovery. Also getting lots of screen time is Eddie Marsan as the driving instructor who goes ballistic. His slow simmering rage is fascinating to watch as the dynamic of the student/teacher relationship goes into unexpected--and uncomfortable--territory. Fernanez provides most of the film’s comic relief as the demanding flamenco instructor and her scenes with Hawkins are the film’s highlight. Leigh is a director known for exploring the lives of British working class. His unique films focus generally on those poor blokes and birds just trying to get by and live a life of dignity despite England’s class system. As one of his film titles suggests Mike Leigh characters have High Hopes. But Happy Go Lucky is perhaps his lightest and certainly most optimistic film yet. By focusing an entire feature on a central character who exudes happiness and goodwill toward her fellow man he turns a light also on the problems and hang-ups of people who bounce their woes off her in this oddly segmented film. Leigh’s improv filmmaking techniques work well here but seem less structured and disciplined than usual. The film is too long for its own good and many scenes wear out their welcome halfway in. Still it’s good to have a craftsman with the kind of singular voice Leigh has still able to make movies his way because in this instance at least that has produced the gift of Sally Hawkins.