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21 Grams 2003 |
Review by Jonathan Cornwell |
Directed by Alejandro González Iñárritu
R, 125 min. (language, sexuality, some violence, drug use) |
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Starring: Sean Penn, Benicio Del Toro, Naomi Watts, Charlotte Gainsbourg, Danny Huston, Clea DuVall, Marc Musso
Producers: Alejandro González Iñárritu, Robert Salerno
Screenplay: Guillermo Arriago
Cinematography: Rodrigo Prieto
Distributor: Focus Features
Released: 11.21.03 (Limited) |
Rating:
  (out of ) |
In just two films Alejandro González Iñárritu has proven himself to be a director of immense talent,
a filmmaker that understands the human condition in its most vulnerable, devastated form. In his first effort, Amores Perros,
he traversed the lives of three people in relation to one central event that linked them together. It was a major achievement
for a first-time director and was deservedly recognized with numerous awards. Now, with 21 Grams, he has amazingly trumped his
first effort, a film that hauntingly portrays three people that reach the very depths of agony with no relief to be found. They too are
linked by a central event (also a traffic accident) that shatters the illusion of life's idyllic promise. Their fractured lives lay in
pieces before us in a jigsaw puzzle narrative that is as challenging as it is moving. Combined with three gut-wrenching
performances from Sean Penn, Naomi Watts, and Benicio Del Toro, 21 Grams packs one powerful punch.
There has been much debate about Iñárritu's narrative structure, which, although similar to Amores Perros,
has been ratcheted up by not only presenting the storyline in nonlinear fashion, but also in a random, at times confusing
manner. The average moviegoer will be perplexed and lost only minutes into the film, which handicaps the film's message
and poignant themes. Although some argue that Iñárritu is overreaching and out-maneuvering himself
in order to make a statement, I would counter that this approach is also intriguing and gripping for more discerning
viewers, and with patience this strategy pays big dividends at the film's bittersweet conclusion. 21 Grams would still
be a very good film with a conventional structure, but it would also lack the exclamation point that similar films such as
Christopher Nolan's masterpiece, Memento,
have. For viewers who are used to this ever-growing structure, it doesn't take long to assemble the disjointed scenes in
their mind, and it eventually becomes a fascinating portrayal of grief, redemption, and revenge.
The story centers around three people. Paul (Sean Penn), a mathematics professor, is awaiting a heart transplant, while
his wife (Charlotte Gainsbourg) wants him to donate sperm for her artificial insemination before it's too late. Jack (Benicio Del Toro)
must deal with a haunting past (he's an ex-con) by embracing his newfound faith in Jesus, which enables him to live with
purpose, although his family is wary of his new beliefs. Christine (Naomi Watts) has escaped a party girl mentality (i.e. drugs)
through a wonderful family, but is shaken to the core when they are involved in a tragic accident that connects all three characters
described here. Their paths intersect, diverge, then culminate in a harrowing climax that highlights the desperation all three
encounter.
Iñárritu has such a vision for his characters that he portrays them at their most exposed states. Character
studies such as this are so rare that we flinch in disbelief when we encounter such honest, painfully authentic people. There's
no question that the subject matter is dark and troubling, but it is never anything less than masterful in its presentation of
its devastated characters. Paul, Jack, and Christine stumble along their jagged paths, bleary-eyed and alive only because
their distraught bodies somehow muster the will to continue on in search of a salve that may not exist. Suffering has
never been communicated with more conviction, and Iñárritu is becoming a master of existential despair.
The performances here are simply astonishing; this is easily the strongest ensemble work of the year. Penn adds yet
another impressive effort to his resume as Paul, a man whose honesty with himself only surfaces when his ailing heart has
been replaced. With his new lease on life, Paul has also changed priorities and sets out to conquer his own need for
gratefulness. Penn is so talented that we forget how easily he can make us believe any character he plays. Added to his
stunning work in Mystic River, Penn has staked his claim to best actor of the year.
Benicio Del Toro is no less convincing as the tormented Jack, a man who questions his faith when tested by the fires of
tribulation in the form of his involvement in the film's central accident. Even though his wife (Melissa Leo) begs him to
stay true to his family above his religious convictions, Jack answers to a higher call. The guilt and burden that hangs around
his neck is so palpable that his slumber eyes and hunched-over demeanor are almost too much to bear. Del Toro gives his
best performance to date (trumping his work in Traffic) with this heartfelt turn. As a sidenote, it's refreshing to see a religious person portrayed not as
an extremist hypocrite, but as an individual that actually practices what he preaches.
And then there's Naomi Watts' penultimate performance. After her mesmerizing work in Mulholland Dr. a few years ago,
she has incredibly matched the intensity of that effort with her portrayal of Christine, a woman that reaches a level of
despair almost never seen in film. That Watts was chosen for the role is one of Iñárritu's most important
decisions; there can be no doubt now that she is the best actress working today. The depths of emotional devastation that
is communicated in her work here is unbelievable. She gives the year's best performance (she was also my choice for best
actress of 2001)
once again, proving that her talent has no limit. This is one heartbreaking effort; one glance at Christine's breakdown opposite
Paul's betrayal is enough to dispel any second thoughts of how good she is here.
Iñárritu has been assisted by the ingenious writing of Guillermo Arriago and the gritty presentation of
Rodrigo Prieto's involving cinematography. Together, they provide a solid foundation for the actors to build upon. What's
so impressive about Iñárritu's ability as a filmmaker is that he can oversee all facets of the production while
coaxing the haunting performances from his cast. The only problem he may encounter in the future is himself; his desire
to create a paradigm every time out hinders his innate ability to communicate his themes.
21 Grams refers to the amount of weight that the body loses at the exact moment of death. The film uses this
as a reference point for its wounded characters, who, ironically, are already dead in a sense, yet despite all their
despair find the means by which to trudge forward, one gram at a time. 21 Grams may impart the most depressing aspects
of humanity, but it also offers a glimmer of hope amidst the misery - the ability to forgive and to be forgiven.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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