The Fountain
The Fountain | |
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Directed by | Darren Aronofsky |
Screenplay by | Darren Aronofsky |
Story by |
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Produced by |
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Starring | |
Cinematography | Matthew Libatique |
Edited by | Jay Rabinowitz |
Music by | Clint Mansell |
Production companies | |
Distributed by | Warner Bros. Pictures[i] |
Release date |
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Running time | 93 minutes[3] |
Country | United States |
Language | English |
Budget | $35 million[4] |
Box office | $16.5 million[4] |
The Fountain is a 2006 American
Aronofsky originally planned to direct The Fountain on a $70 million budget with
The film was released theatrically in the United States and Canada on November 22, 2006. It was a
Plot
In the Mayan jungle, Tomás finds that most of his fellow knights are exhausted and refuse to continue searching for the Tree of Life. After a failed mutiny and the death of their priest guide, he takes the few who remain loyal with him to a pyramid, carrying a ceremonial dagger. Once he arrives at the pyramid, the first scene repeats and Tomás engages in combat with the Mayan priest. Tom (whether he is a version of Dr. Tommy Creo, an element of Izzy's story, or an incarnation of Tommy himself in the future is unclear) spends much of his time performing physical or mental exercises, including a form of meditation allowing him to perceive and interact with the past. In that past, Tomás is stabbed in the stomach but, just as the priest is about to kill him, he appears before the figurehead. The priest now believes Tomás is the "First Father" who birthed all life. Tomás kills the priest as a sacrifice and proceeds to a pool with a large tree, convinced this is the Tree of Life. Tomás applies some of its sap to his torso and is cured of his stab wound. He drinks the sap flowing from the bark. But in a reenactment of the Mayan creation myth recounted earlier, his body is turned into flowers and grass that burst forth from it and he literally gives rise to new life, killing himself in the process. In space, the tree finally dies just before the spaceship arrives at its destination, much to the horror of the version of Tommy tending it. A final vision of Izzi appears, comforting him in the face of his acceptance of death. The star goes supernova, engulfing the ship and everything within. Tom's body, engulfed by the dying star inside of the nebula, is absorbed by the tree, causing it to flourish back to life. Izzi's apparition picks a fruit from the new tree of life and hands it to Tommy, who plants it in Izzi's grave, accepting her death and moving on.
Cast
- Rachel Weisz as Isabella I of Castile / Izzi Creo:
A terminally-ill woman writes an unfinished manuscript titled "The Fountain" about a 16th-century Spanish queen held captive by a powerful Catholic priest, who sends her most loyal henchman to find a legendary tree she believes would free her and her subjects from the Inquisition. Weisz, speaking to The Guardian, shared how working with director Aronofsky, who was then in a relationship with her at the time of filming and release, was "very different to who we are around the house."[12] - Ellen Burstyn as Dr. Lillian Guzetti: Dr. Creo's lead surgeon and colleague at the laboratory who was concerned with Tommy not spending enough time with his dying wife as he obsesses over finding an end to death[13][14]
- Stephen McHattie as Grand Inquisitor Silecio: His growing power and ruthless crackdown on the queen's loyal subjects, branded as heretics during the Inquisition, threatens the peace of her kingdom as he stages a coup against the Spanish queen[14]
- Cliff Curtis as Captain Ariel: Creo's fellow conquistador who believed that the quest to find the Tree of Life was a curse and was killed by Tomás in a fit of rage.
Narrative structure
The three stories are interwoven with match cuts and recurring visual motifs; Hugh Jackman and Rachel Weisz play the main characters in all three narratives.[16] Whether the actions in these stories are actual events, or symbolic, is not clear: director Darren Aronofsky emphasized that the storylines in their time periods and their respective convergences were open to interpretation.[17] The director has said of The Fountain's intricacy and underlying message, "[The film is] very much like a Rubik's Cube, where you can solve it in several different ways, but ultimately there's only one solution at the end."[17]
Themes
In a 2012 interview outlining the path of life depicted, Aronofsky stated that "ultimately the film is about coming to terms with your own death" oftentimes driven by love.[18] The film asks such questions as "What if you could live forever?" and depicts one man's journey to overcome death. Related to this path, Darren Aronofsky described the core of the film as "a very simple love story" about a man and a woman in love, with the woman's life cut short. The director researched people who were dying young, and learned from doctors and caregivers that such patients find new ways of coping. Aronofsky observed that the patients often die more alone because their families cannot recognize what happens with them, calling it "an incredible tragedy":
Instead of facing this tragedy in terror, she is coming to terms with what is happening to her... Many patients actually start opening up to the possibility of what's happening to them, but there's very little vocabulary to help them deal... We decided to expand it with this woman [Izzi] offering a gift to her husband as a metaphor that tells him where she's come to in her awe inspiring journey towards death. Hopefully through time he'll be able to understand it and basically get where she is.[19]
The Fountain's theme of
Aronofsky's sensibility can be placed between Kubrick's exploration of humanity, and Spielberg's emotionality as he "combines elements of Kubrick's excess visible in the human condition and leading us toward the limit of existence in obsession or madness, and of Spielberg's emotion and the wish to leave a ray of hope, regardless of how hopeless the situation might be."[23]
Production
Development
Director Darren Aronofsky sought to produce The Fountain after the release of Requiem for a Dream in 2000. In April 2001, he entered negotiations with Warner Bros. Pictures and Village Roadshow Pictures to direct the then-untitled film with actor Brad Pitt in the lead role.[24] Requiem for a Dream was screened for Pitt, and the preliminary script for The Fountain persuaded the actor to join the project.[25] Aronofsky prepared for production by traveling with a crew to Central America to consult with Mayan experts and to explore the Mexican ruins of Palenque. The group also visited Tikal, a jungle location featured in the 1977 film Star Wars.[26] In addition to the trip, the films Aguirre, the Wrath of God and The Holy Mountain were screened for the crew to inspire it in designing a rainforest set for The Fountain.[27] In June 2001, actress Cate Blanchett entered talks to join Aronofsky's project.[28] Aronofsky, who wanted the film's actual title to be a secret, gave the project the working title of The Last Man.[29] Production was postponed to improve the script and to wait for Blanchett, pregnant when she joined, to give birth to her child in December 2001. The start date for production was tentatively set in summer 2002.[30]
In June 2002, Warner Bros. met with Aronofsky and producer Eric Watson, expressing concerns over an escalating budget and threatening to cease the project unless a co-financier was found. Watson petitioned independent production companies for support and was able to enlist
Aronofsky began to develop other films. When he looked over the books he used to research for The Fountain, he decided to return to The Fountain, feeling closer to it creatively than the other possible projects. Without a studio and an actor, he decided to write a "no-budget" version of the film, using his experiences filming Pi and Requiem for a Dream with small budgets.[35] In February 2004, Warner Bros. resurrected Aronofsky's project and began to court actor Hugh Jackman to replace Pitt in the lead role. The film received a second greenlight with a budget of $35 million, in part because of the director's willingness to leave costly set pieces out of the screenplay.[36] In August, actress Rachel Weisz joined Hugh Jackman for the film, filling the vacancy left by Blanchett.[37] Filming lasted 60 days in early 2005 and took place mainly on a sound stage in Montreal.[25][38]
Writing
Aronofsky and his friend
In 1999, when Aronofsky turned 30 years old, his parents were diagnosed with cancer. He began reflecting on human mortality, "That was a really heavy-duty emotional time. I know it's a very young age, but turning thirty marks when your twenties are over and you could start considering, 'Wow, one of these days I'm actually going to die.'" While his parents overcame cancer, he began to focus on the concept of a young man saving a loved one from a life-threatening disease. He shared the concept with Handel, his undergraduate school roommate at Harvard University. Handel earned a Ph.D in neuroscience from New York University but was uncertain about a future in neuroscience. He recalled the discussion, "Darren and I just started talking about the story. We kept wanting to talk more about it as the story kept getting bigger. I decided to make some life choices to continue working with Darren, because it was so much fun."[39]
The director relied on a change of locale to inspire him to write
Aronofsky realized that since writing in 2000 the battle scene between the armies of Mayans and conquistadors, The Lord of the Rings film trilogy, Troy, King Arthur, and other films had featured massive battle scenes. He felt less inclined to mimic the scale and rewrote the battle to be mainly between Jackman's conquistador character and the Mayans. The director realized that, with one man against the army, the rewrite was a suitable metaphor for his film's theme of a man defying odds to do the impossible and conquer death.[44]
The filmmakers researched space travel and Mayan culture, including its history, religion, and spirituality. They attended brain surgeries with the actors. With the research in place, Aronofsky said, "We decided which things we wanted to be purely factual and which things we wanted to bend."[45] The director did not strive to be historically accurate with the various time periods, perceiving the entire film as a setting of a fairy tale. He said, "It was more about painting a relationship between a queen and her warrior, and just using that for more fantasy reasons."[19]
Casting
Aronofsky saw Hugh Jackman perform as Peter Allen in the Broadway musical The Boy from Oz and was impressed with his performance. The director met with Jackman, who sought "a role that could show a lot of dimension," and cast him into the lead role in The Fountain.[43] Jackman starred previously as the muscular character Wolverine in the X-Men films, so for The Fountain, he exercised to adopt a slimmer figure. Jackman practiced tai chi for seven months to demonstrate it in a 30-second scene. He also practiced yoga for over a year to achieve the lotus position for scenes set in space. For these scenes when he is seen in the position in mid-air, he was immersed in a swimming pool and harnessed to a rig that rotated him 360 degrees so his clothes floated freely about him.[46]
Jackman also watched a woman undergo brain tumor surgery and was shaken to see the woman have similar blond hair to his wife: "All I could think of was my wife on that table. As much as I'd read the script and theorized and practiced philosophy, I knew in that moment that I was so not ready for death."[21] For his various characters, the actor assumed a different posture for each persona. As the conquistador, Jackman was upright and forward-leaning to evoke an unstoppable nature. As the scientist, the actor hunched over with a dedicated focus on his character's work, being weighed down by the "world on his shoulders." As the space traveler, Jackman practiced the state of zen but also exhibited a continued persistence in his endeavor.[47]
Jackman suggested that Aronofsky cast Rachel Weisz as his character's wife. The director, who was in a relationship with the actress, had originally hesitated to show the studio signs of favoritism in casting Weisz. With Jackman's earnest recommendation, the actress was cast as Izzi/Isabel.[48] For her role, Weisz read books and first-person accounts about people who had terminal illnesses.[47] The actress also visited hospitals to see young people who were dying and under hospice care. "There were a few days where I was in the headspace where I could say: 'I could go now'," said Weisz.[49]
The Fountain also stars Ellen Burstyn as Dr. Lillian Guzetti, Tom's superior, and Mark Margolis as Father Avila, who accompanies Tomás the conquistador. Burstyn and Margolis appeared in Aronofsky's Requiem for a Dream, and the director wrote into the script roles for both of them.[43] Sean Patrick Thomas, Donna Murphy, and Ethan Suplee were cast as assistants to Tom's lab work. Cliff Curtis was cast as Captain Ariel, a fellow conquistador, and Stephen McHattie was cast as Grand Inquisitor Silecio, a religious fanatic who threatens the Spanish queen.[50] Seventy extras were cast as Maya warriors, including twenty who had actual Guatemala Mayan backgrounds. One of the twenty, a real-life spiritual leader, was cast as the Maya spiritual leader in the film.[38]
Design
The film's locations, with the exception of scenes filmed at a museum and at a farmhouse, were built on the Montreal sound stage.[51] Production designer James Chinlund and his crew built sets for The Fountain in a large warehouse in Montreal. The sets included the 16th century jungle settings and the bubble-shaped spacecraft containing the tree of life and its garden.[52] The spacecraft set was placed against greenscreen, and the crew hung colored reflective material, which included green, black, gold, and silver, on three circular tracks around the set. One material would be moved into place instead of the heavy equipment, and with the other materials partitioned off, a light source was used with the preferred material. Silver was used for scenes in which the spacecraft moved through the stars, and gold was used for when it entered the nebula.[53]
In The Fountain, the Tree of Life was a central design and part of the film's three periods. The tree was based on
Aronofsky and cinematographer Matthew Libatique also discussed using a limited palette of colors, an approach that started with Aronofsky's Pi and continued with Requiem for a Dream.[57] In The Fountain, the primary colors are gold and white. Gold represents "the Mayans, a sort of fool's gold, a false truth";[58] Aronofsky explained the choice, "When you see gold, it represents materialism and wealth and all these things that distract us from the true journey that we're on."[20] White was chosen to represent mortality and truth. Weisz's characters are white, and wear white or are enveloped in white light to accentuate this presentation. Secondary colors are green, representing the color of life, and red, representing death.[58] The director also used similar geometric constructs in the film to distinguish the three storylines. The 16th century conquistador's tale reflected triangles through pyramids and constellations, the 21st century researcher's period reflected rectangles through doors, windows, and computer screens, and the 26th century contemplative's journey reflected circles and spheres through the spacecraft and stellar bodies.[59]
Filming and cinematography
Principal photography for The Fountain began on November 22, 2004 and wrapped up on February 23, 2005.[5] Cinematographer Matthew Libatique, who worked with Aronofsky throughout the 1990s,[60] shot The Fountain under Aronofsky's direction. Libatique prepared for over a year for The Fountain when Aronofsky tried to produce the film for the first time. When production restarted on a smaller budget, Libatique felt that the more budget-conscious approach resulted in a better film, "I think the streamlining of the film helped us tell the story more effectively. It's been stripped down to its core, to what it's really about: a search for immortality, when the truth of life is mortality."[16]
Aronofsky planned to have a strong presentation of the thematic movement from darkness into light. He originally sought to show only a silhouette of the man until the second of the film's three acts, but he chose not to be so extreme, wanting to be more communicative to the audience. The movement was presented less aggressively in the film; Jackman's characters are seen in silhouette at the beginning, kept out of key light. In each of the three periods, the lighting on Jackman's characters is initially dim and gradually grows brighter as the storylines unfold.[58] Meanwhile, Weisz's characters are frequently awash with light in the storylines.[61] Libatique described the metaphoric change of the lighting on Jackman's characters, "We follow the arc of the Thomas character as he gets closer and closer to the truth."[58]
Aronofsky preferred to use one camera whenever possible, only using a second camera if the scene was more about the setting and could be shot from two distinctly different axes. Libatique said Aronofsky preferred the eyeline match, "Darren is big on eyelines, and if you sacrifice an eyeline on an angle, he feels it nullifies the shot and de-emphasizes the performances."[62] Aronofsky originally intended to have Jackman's characters always moving in an "unusual" left-to-right direction across the frame, but the plan was complicated by the spacecraft needing to move upward toward a light source.[57]
Visual effects
When production restarted in 2005, there was a more budget-conscious approach to filming The Fountain, whose original budget was mostly intended for visual effects. Libatique reflected, "Visual effects comprised of a lot of the budget in the original conception. The popcorn moments were in there to justify the budget and bring target audiences into the theater. Ultimately, I think the streamlining of the film helped us tell the story more effectively. It's been stripped down to the core, to what it's really about: a search for immortality, when the truth of life is mortality. I think at the end of the day, the theme of the film will be easier to feel."[63]
To create a death scene, Aronofsky drew from Mayan mythology the description of flowers and butterflies emerging from the bodies of valiant warriors when they die. Aronofsky excluded butterflies from the death scene to minimize the film's computer-generated imagery but kept the effect of flowers bursting from the body.[54]
Jeremy Dawson and Dan Schrecker, who had provided visual effects for Darren Aronofsky's
One creative solution was uncovering Peter Parks, a specialist in
The visual-effects company Look Effects worked on 87 shots for The Fountain that included major set extensions, digital mattes, image enhancement, face replacement and blemish removal, as well as animating key elements to the film's story. Henrik Fett, the visual effects supervisor of Look Effects, said, "Darren was quite clear on what he wanted and his intent to greatly minimize the use of computer graphics... [and] I think the results are outstanding."[64]
Music
Clint Mansell—the composer for Aronofsky's previous films Pi and Requiem for a Dream—reprised his role for The Fountain. The San Francisco-based string quartet Kronos Quartet—who previously performed for the Requiem for a Dream soundtrack—and Scottish post-rock band Mogwai also contributed to the film score.[65] Mansell researched possible scores to compose one tying together the three storylines and sought to have an organic feeling to the score and explored implementing orchestral and electronic elements that would have "a real human element to them that breathes."[56] While reading the script, Mansell was reminded of the post-rock music of Mogwai as well as Godspeed You! Black Emperor and Sigur Rós[56] and initially planned a score based around percussion[66] before adding the string quartet and choir. The soundtrack was released by Nonesuch Records in 2006 and received numerous award nominations.
Marketing
When Warner Bros. shut down pre-production of The Fountain in 2002, Aronofsky reserved rights to publish a
The Fountain was originally scheduled to be released on October 13, 2006, but the film was delayed to create a "long-lead campaign" and generate anticipation via word of mouth. The release date was ultimately set for November 22, 2006.[68] Aronofsky shared his screenplay with eleven artists: Phil Hale, Martin Wilner, Jason Shawn Alexander, Kostas Seremetis, Dave Gibbons, Barron Storey, James Jean, Jim Lee, Olivier Bramanti, Seth Fisher, and Bill Sienkiewicz. He invited them to interpret the screenplay in each one's chosen medium, and the interpretations were intended to be available on the film's website.[69] Aronofsky also published a book about the film that contained production stills, the original script, original art, and observations by the film's creators.[70] The content and research agency Ramp Industry launched The Fountain Remixed, an official website driven by user-generated content. Users could download freely provided audio parts from The Fountain's film score, remix the music, and upload the work onto the website to be evaluated by other users.[71]
Release
The film had its world premiere at the 63rd
Critical reception
On the
Newsweek reported how people received the film: "Its supporters admire the film's beauty and daring; its detractors find it overblown and hokey."[78]
Anthony Lane, reviewing for The New Yorker, called The Fountain "a gorgeous nimbus of confusion." Lane complained about the film's up-close and far-away shots, "What fails to concern or attract Aronofsky is the place where most of us hang out—the in-between, the midshot of everyday existence." He summarized, "The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them."[81] Roger Ebert, who admired Aronofsky's previous films, conceded in the Chicago Sun-Times that The Fountain was "not a great success." He identified the film's problematic aspects: "too many screens of blinding lights," "too many transitions for their own sake," and "abrupt changes of tone." He believed that the scaling down of the film from Aronofsky's original ambition lost some elements and anticipated a director's cut truer to Aronofsky's vision.[14]
In 2009, Aronofsky reflected on the reception of The Fountain:
There are a lot of Fountain-haters out [at the Venice Film Festival]. The film's about the fact that it's OK that we die, and we should come to terms with it. But many, many people don't want to think about that, so why pay money for a meditation on losing someone you love? Everything about western culture denies that. It was pre-Obama, smack in the middle of Paris Hilton time. But there has been a serious turn now, people are starting to realise that the party's over, finally. So we can stop thinking about the culture of superficiality, start to remember there are other things going on.[82]
In the book Positive Psychology at the Movies: Using Films to Build Virtues and Character Strengths, Ryan M. Niemiec and Danny Wedding cite the film as one which depicts the development of perspective. "[Jackman's character's] denial and work addiction are obstacles to the development of the strength of perspective, but he is able to confront those obstacles as he develops acceptances and wisdom, represented by themes drawn from both Buddhism (meditation, rebirth, reincarnation) and Christianity (eternal life, faith, and love)."[83]
In 2016, it was listed as number 484 on
Home media
The Fountain was released on
Notes
- 20th Century Foxdistributing in international territories.
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- ISBN 978-0-88937-352-5.
- Empire (film magazine). Retrieved July 17, 2016.
- ^ "Warner Brings 'The Fountain' to Blu-ray, HD DVD". High-Def Digest. Internet Brands, Inc. March 7, 2007. Retrieved March 19, 2007.
- ^ Sciretta, Peter (May 30, 2007). "Darren Aronofsky Blames Warner Bros For Fountain DVD". /FILM. Archived from the original on January 13, 2010. Retrieved December 8, 2009.
- ^ Sciretta, Peter (September 17, 2007). "Darren Aronofsky Releases The Fountain Audio Commentary Online". /FILM. Retrieved December 8, 2009.
- ^ Loder, Kurt (December 4, 2008). "Mickey Rourke And Darren Aronofsky: Party People". MTV Movies Blog. MTV. Retrieved December 14, 2022.
Bibliography
- Calhoun, John (November 2006). "Eternal Love". ISSN 0002-7928.
- Goldsmith, Jeff (September 2006). "The Fountain". Creative Screenwriting. 13 (5): 53–57. ISSN 1084-8665.
- Macaulay, Scott (October 2006). "Death Defying". ISSN 1063-8954.
- Skorin-Kapov, Jadranka (2015). Darren Aronofsky's Films and the Fragility of Hope. ISBN 978-1-5013-0697-6.
Further reading
- ISBN 0-7893-1495-9.
External links
- Official website
- The Fountain at IMDb
- The Fountain at AllMovie
- The Fountain at Rotten Tomatoes