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| 'every Reeves performance can be described as a version of Neo and this one sees the uber-dude broken and tipping towards the psychopathic, whilst channelling the relaxed Orange County slacker-vibe in a generally agreeable way' |
Following a mixed reception on its release in 2006, A Scanner Darkly now seems to inhabit that particular ring of cult films apparently reserved only for Philip K. Dick adaptations. Adapted from Dick's semi-autobiographical novel of the same name by writer/director Richard Linklater, this animated fable appears to have divided all but Dick's core fan base and family, who appear unreserved in their praise of Linklater's adaptation.
It's easy to see why A Scanner Darkly divides. Filmed as live action but presented as animation after a technique called rotoscoping (tracing animation over the live action frames) had been applied, the effect is initially jarring and difficult to come to terms with, particularly as the film starts with a trippy, disconnected scene of a drug addict (Rory Cochrane) imagining bugs crawling all over him. Eventually the technique does bed in to your watching psyche, and gradually guarantees visual investment, but in the beginning it can be hard to adapt to.
Undoubtedly this feeling is both aided and hindered by watching the film in high-definition. Released on Blu-ray last week, the transfer is nothing short of amazing and one of the best advertisements for the system I've seen. Constantly shifting 'scramble suits' and ambiguous backgrounds are all given sharp edges along with some of the more bizarre imagery which looks like it was lifted straight from a Beatles song. The results will make your head spin.
Performance wise there's little to moan about. Woody Harrelson and Robert Downey Jr. are at their manic unleashed best as a pair of drug addicts living with undercover cop Keanu Reeves. Every Reeves performance can be described as a version of Neo and this one sees the uber-dude broken and tipping towards the psychopathic, whilst channelling the relaxed Orange County slacker-vibe in a generally agreeable way which seems to fit the character. Winona Ryder's performance as Donna, Reeves' 'girl', is the only one of the leads which meanders and I found it difficult to get a handle on her character and motivations although these do become more developed as the film begins to draw conclusions.
Where the film really excels is in its punchy and captivating script which channels the energy of the high admirably whilst never shying away from capturing the consequences of the come-down. A conversation between the three leading men in a pick up truck is both funny and tragic whilst our addict from the very beginning's attempt at suicide is both bonkers and terrifying, aided by a mind-bendingly brilliant piece of deadpan narration. Gorgeous, but with scruples, morals and multi-eyed aliens to back up its visual invention.
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'wouldn't have worked if not for rotoscope, a sense of surrealism, you never know what's real and what's a dream' - Four Of Them
A superbly created picture put together in hectily rational order. The acting of all the drug addicts precisely captures the paranoia and madness that invades any drug driven mind.
ReplyDeleteLinked, you say? Hazzah!
ReplyDeleteWell, anyway, this is a good review. I actually thought Winona Ryder was better than she's been in awhile, maybe because her role at first appears the thankless girlfriend, but then morphs into the biggest role of them all, a feat that wouldn't have worked if it was live-action.
CMrok93 - I think you're absolutely right there, one of the strongest aspects of the film I thought although, perhaps overall the rotoscoping dumbed the negative impact of drugs down a bit? The opening scene was more funny than scary.
ReplyDeleteSimon - As you say, I think the role is saved in the end but there's still over an hour of not watchig her do much character or acting wise. I suppose that was necessary though. Perhaps a little harsh on my part.