Nolan’s Geometry Class: An "Interstellar" Review
”Do not go gentle into that good night, old age should burn and rage at close of day. Rage, rage against the dying of the light.”
To the followers of Nolan, I agree that Interstellar is stellar, if not, one for the classics. For the haters, the purists with their rigid Science hammers, go on, deconstruct Nolan’s world all you want. I leave the debate on how scientifically accurate a 3 hour sci-fi is to our physicist friends.
Interstellar Trailer
We
go to the unchartered territory of the family and the social ramifications of
Nolan’s world. At first glance, the premise of
Interstellar is near-future environmental catastrophe coupled with
cultural defeatism.
A world* where
people live in a dystopia, not like the state-run “authoritarian” regime defined
by the middle class nightmare in adult fiction (read: Hunger Games and The
Giver),
but a humanity that has astonishingly abandoned our current consumerist culture.
One main protagonist talks of conspicuous consumption as if it’s a thing of recent
past. However, Nolan toys with that notion, not in a revolutionary sense
wherein people topples down the moribund system driven by capital. Instead, he
painted humanity three generations away from us, as having an existential crisis.
In
a world where many things are deemed to be excesses, space travel has been
dismissed as too lucrative for a humanity waiting to be extinct. However,
tension builds up as the relationship of Coop-Murphy is based on a mutual longing
for higher aspirations. A familial journey set in separation and reunification
of father and daughter.
Both
the lead male/female characters are productive in science, determined to
transcend the limited spaces of their social coordinates. Nolan would refer to the
structures in his films as ‘geometry,’ the same bounds that “Coop” (Matthew
McConaughey) and his daughter Murph, tried to resist.
Resolution
of humanity’s crisis begs Coop to find self-transcendence and this time,
literally travel through time and space, while the earthbound daughter finds
purpose in deciphering the codes transmitted by her father. Notice that similar
voyages are embarked by the familial pair, one in physical space and the other
in the intellectual realm.
The
narrative promises a new generation, Anne Hathaway casted as Amelia Brand is
set to start a human colony in another planet. However, the latent message is mothering,
the Gaea in which Amelia is forced to play, will cease to be relevant until
America has triumphed to gain a new world and a territory. Once again, a
fixation of a current superpower, an obsession with capital, and in this case
US mono capitalism IS the end of history. And for the final straw, it is up to
the selfless and resourceful men (Coop akin to Nick of Gone Girl), to set things straight, to make
the world safe for mothering again.
Beyond being
stellar, Nollan, brought humanity’s frailties to a (family) drama. The silences
of the movie on issues of food insecurity and wars waged in the name of
survival would have been an interesting angle. Yet again, supply and demand
curves (and politics especially) don't make for very good sci-fi. Still, I am a
believer of science fiction as a simulation of our present realities, hopefully
interpreted as social critiques.
Or you can just
watch Interstellar for the ride.
*world is used as a Bless-America-and-no-place-else
kind of world, with no traces of other first world nations, and expectedly
silent on the third world.
Credits to the images, videos, and materials used in this post go to "Interstellar" and/or to their respective owners. .I do not own these materials. No copyright infringement intended.
Nice review. Definitely think this was a stellar outing from Nolan. ;)
ReplyDeleteTrue, Chris! This could qualify as the best I've seen this year! :D
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