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.
Creating a scent on screen has long been thought to be impossible—but Perfume: The Story of a Murderer is an above-average effort triggering the raw emotions from smell without the gimmicks of 1950's Smell-O-Vision. Based on the best-selling novel by Patrick Suskind Perfume focuses on Jean-Baptiste Grenouille (Ben Whishaw) a weird dude who was born into filth and poverty amid the guts and vomit of an open-air French fish market. Although he has no human scent of his own Grenouille’s world-class sense of smell is able to penetrate people's skin—and he’s attracted to the female scent. Not in a sexual way mind you; he wants only to bottle it. When Grenouille meets fallen (but still legendary) perfumer Giuseppe Baldini (Dustin Hoffman) the younger sets out to titrate the most elusive perfume known to man: A woman's pheromones. Problem is women won't stay long enough so Grenoiulle can capture their scent and the young man ends up killing them. When Grenoiulle kills a powerful merchant's (Alan Rickman) daughter his execution is planned for a public square. Whishaw is the real star here but playing Grenouille may have proven a challenge for the young British actor since the character is beloved by fans of the best-selling novel. Whishaw is forced to go mute and inert as Grenoiulle his intensity focused inward with quiet gazes and mysterious intensity arousing doubt and fear. Grenouille is a man handsome in his youth but ultimately one we despise--or at least someone we wouldn’t want to hang out with. And for a change of pace a powdered rosy-cheeked Hoffman comes up smelling roses in this period thriller. As Baldini in costume flair the two-time Oscar winner does something quite different no longer just the colorful supporting player he’s been playing in light dramas such as Finding Neverland and Stranger Than Fiction. Baldini isn't one of Hoffman's best roles as Whishaw owns this film but it's a fun performance which pays attention to the actor’s pronounced proboscis. Rickman of Harry Potter fame is an enraged vengeful father. Natch. Perfume is director Tom Tykwer's first major commercial film since his 1998's go-go thriller Run Lola Run--and as a thriller Perfume is built around solid dialogue-driven scenes notably between Grenouille and Baldini. Apparently 57-year-old German writer Patrick Suskind refused for years to give up the rights to his book but producer Bernd Eichinger—the guy behind The Neverending Story's precocious 1980's futurism—finally won out. Nuggets of Suskind’s literary wisdom only enhance the movie's continuity and realism scattered incrementally to remind us we're watching an intelligently conceived film. Perfume is unwieldy at 147 minutes however a bit fatty and unnecessary at the film's cost. Sometimes that happens with novel adaptations especially one as popular as Perfume. In fact the film ends with an unusually bizarre orgy with hundreds of naked people writhing in hormone-driven ecstasy. What smells so lovely Mr. Tykwer?