Seen before: Yes
I remember reading reviews about this film at the time of it's release, and thought it sounded very unique and interesting. 21 Grams is allegedly the amount of weight lost when a person dies.
---Plot Summary---
A dying mathematician (Sean Penn), a suburban mother (Naomi Watts) and an ex-convict who has found strength in God (Benicio Del Toro), have their lives changed by a tragic car accident. These three seemingly unconnected people are brought together as they attempt to deal with guilt, loss, love, and faith.
---Review---
The follow up to Alejandro González Iñárritu's 'Amores Perros', 21 Grams is in many ways similar to his previous film. The story is centered around these three characters, which is a theme common in Iñárritu's films. What sets it apart however, is that the structure of the story is interjected and non-linear. It's a technique seen infrequently in film, and largely succeeds in this film thanks to the excellence of the script (co-written by Iñárritu and his frequent collaborator, Guillermo Arriaga). It means that from the beginning, we have a rough idea of what is going to happen at the end, as we are shown a few glimpses of some of the final scenes. It does mean you have to be paying attention to what is going on, as we learn a little more about each of the three central characters.
Sean Penn plays Paul Rivers, a man on the brink of death, who requires a heart transplant to stay alive. He ends up with the heart of a man who was killed as a result of a hit and run, who he later finds out to be the husband of Naomi Watts' character, Cristina Peck, whose two daughters were also killed in the accident. The driver of the vehicle was Jack Jordan, played by Benicio Del Toro, a reformed ex-convict who believed he had found forgiveness in God. But he then begins to question his faith as to why God would allow him to kill these three people. Paul and Cristina begin a relationship and then decide that Jack must be punished for what he has done.
All three actors are on top, top form, with Del Toro outshining the rest for me. He is completely believable as a man who has been troubled all his life, but has 'been saved'. His mannerisms and the emotion lying behind his eyes conveys the pain he then has to go through, as he turns his back on his family, because he is constantly reminded of what he has done (his children know he has killed). The early scenes of him at his church, trying to teach a young man about right and wrong, are a lesson in self-contained acting. Whenever he is on-screen, he makes his presence felt. Penn and Watts perform admirably too, as their characters turn to each other for some sort of comfort, or answers. The supporting cast also turn in some memorable performances, particularly Eddie Marsan (I had to blink twice) as the priest of Jack's church.
The film looks a little rough around the edges, and has a grainy feel to it, but this actually works perfectly in harmony with the subject matter. Hospital interiors, motel bedrooms and desolate wasteland all convey the sorrow, pain and misery these characters are going through. The fact they are able to attempt to redeem themselves at all is somewhat surprising given their situations. And their turmoil is accompanied by some eerily, haunting music by Gustavo Santaolalla, which never gets in the way of the drama. With it's interesting takes on love and death, it's certainly a film worth watching.
---Rating---
8/10
Tomorrow: 24 7: Twenty Four Seven (Shane Meadows, 1997)
I remember reading reviews about this film at the time of it's release, and thought it sounded very unique and interesting. 21 Grams is allegedly the amount of weight lost when a person dies.
---Plot Summary---
A dying mathematician (Sean Penn), a suburban mother (Naomi Watts) and an ex-convict who has found strength in God (Benicio Del Toro), have their lives changed by a tragic car accident. These three seemingly unconnected people are brought together as they attempt to deal with guilt, loss, love, and faith.
---Review---
The follow up to Alejandro González Iñárritu's 'Amores Perros', 21 Grams is in many ways similar to his previous film. The story is centered around these three characters, which is a theme common in Iñárritu's films. What sets it apart however, is that the structure of the story is interjected and non-linear. It's a technique seen infrequently in film, and largely succeeds in this film thanks to the excellence of the script (co-written by Iñárritu and his frequent collaborator, Guillermo Arriaga). It means that from the beginning, we have a rough idea of what is going to happen at the end, as we are shown a few glimpses of some of the final scenes. It does mean you have to be paying attention to what is going on, as we learn a little more about each of the three central characters.
Sean Penn plays Paul Rivers, a man on the brink of death, who requires a heart transplant to stay alive. He ends up with the heart of a man who was killed as a result of a hit and run, who he later finds out to be the husband of Naomi Watts' character, Cristina Peck, whose two daughters were also killed in the accident. The driver of the vehicle was Jack Jordan, played by Benicio Del Toro, a reformed ex-convict who believed he had found forgiveness in God. But he then begins to question his faith as to why God would allow him to kill these three people. Paul and Cristina begin a relationship and then decide that Jack must be punished for what he has done.
All three actors are on top, top form, with Del Toro outshining the rest for me. He is completely believable as a man who has been troubled all his life, but has 'been saved'. His mannerisms and the emotion lying behind his eyes conveys the pain he then has to go through, as he turns his back on his family, because he is constantly reminded of what he has done (his children know he has killed). The early scenes of him at his church, trying to teach a young man about right and wrong, are a lesson in self-contained acting. Whenever he is on-screen, he makes his presence felt. Penn and Watts perform admirably too, as their characters turn to each other for some sort of comfort, or answers. The supporting cast also turn in some memorable performances, particularly Eddie Marsan (I had to blink twice) as the priest of Jack's church.
The film looks a little rough around the edges, and has a grainy feel to it, but this actually works perfectly in harmony with the subject matter. Hospital interiors, motel bedrooms and desolate wasteland all convey the sorrow, pain and misery these characters are going through. The fact they are able to attempt to redeem themselves at all is somewhat surprising given their situations. And their turmoil is accompanied by some eerily, haunting music by Gustavo Santaolalla, which never gets in the way of the drama. With it's interesting takes on love and death, it's certainly a film worth watching.
---Rating---
8/10
Tomorrow: 24 7: Twenty Four Seven (Shane Meadows, 1997)
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