» The Incredible Hulk

» The Happening

» Fido

» Good Luck Chuck

» The Incredible Hulk

» Bollywood rewards best

» Prince Caspian

» Definitely, Maybe

» Dutt eyes Indian politics

» Still got the sparkle

Today, 19 July 2008

» Oyster Fest a success

Yesterday, 18 July 2008

» Happy birthday Madiba

» The white youth is angry

» Why we love you...

» Real estate reality check

» Madiba's appeal for poor

'21 Grams' is anything but light. It's decidedly heavy going, but that's to be expected when a film's title refers to the weight we lose when we die.

But mortality is just one of the themes of this intense, emotionally charged and, ultimately, draining film. According to its acclaimed Mexican director, Alejandro González Iñárritu, '21 Grams' is "a meditation that explores some of the things in our complex lives: loss, addiction, love, guilt, coincidence, vengeance, obligation, faith, hope, and redemption."

These things, as González Iñárritu calls them, form the core of what is essentially a simple, but rich, story about three people whose lives become entangled after a tragic accident. Sean Penn is Paul Rivers, a chronically ill college professor whose life and fractured marriage are rapidly slipping away. Naomi Watts is Christina Peck, a former drug addict who has made a new life for herself as a loving mother and wife. And Benicio Del Toro is Jack Jordan, a struggling ex-convict who devotes more time to his church than to his family.

'21 Grams' explores how their lives are changed by the accident and, with great intricacy, shows how they deal with the new challenges facing them.

Sounds slow and boring? It isn't. The director has crafted a harrowing and gritty film driven by three very powerful performances. The excellent Del Toro pulls out a full palette of moods and emotions, from rage to brooding insecurity, as the world weary Jack questions his faith. Penn effortlessly shifts between frailty and passion, while Watts' grief is frighteningly tangible.

Adding to the sense of reality and pace is the director's use of 'Traffic' inspired documentary style camera work, grainy film, and jagged cuts between scenes. But, not only do scenes begin and end in mid-sentence, they have been pieced together in a non-chronological fashion so that the story continually flits between past and present. Wildly disorienting and even down-right frustrating this may be at first, but González Iñárritu uses this technique to fine effect.

Instead of being a passive viewer, you're drawn into the characters' lives as you try to make sense of the narrative. It's like a puzzle that you want to work out. And after 40 minutes or so, when you've finally begun to piece together the plot, you're filled with a greater sense of insight into events than most films provide.

But it's not until the closing scene that everything falls into place, leaving you to spend at least the next few days thinking about what is a demanding, yet riveting, film.

For more on the film, visit the official website: http://www.21-grams.com/

What the international critics said:

"It's one of those motion pictures that haunts your thoughts and won't let go."
- James Berardinelli, REELVIEWS

"It grips us, moves us, astonishes us."
- Roger Ebert, CHICAGO SUN-TIMES

"It's a startlingly crafted movie, with several extraordinary performances."
- Owen Gleiberman, ENTERTAINMENT WEEKLY

"Establishes [Inarritu] as a major cinematic force."
- Eric Harrison, HOUSTON CHRONICLE

"This movie knocks you out with an astonishing blend of hyper-realism, visual complexity and powerful themes."
- Kirk Honeycutt, HOLLYWOOD REPORTER

"Tough, smart, relentless, provocative and, above all, serious."
- Stephen Hunter, WASHINGTON POST