There are movies that connect with their audience in a way that cannot be put into words. It's very personal, very intimate and few good movies can do that. 'The Fountain' is one of those few movies that grips my insides every time I watch it and doesn't let go for a very long time. I know there are flaws, but I don't see them. Weisz is, as always, perfection and Hugh Jackman doesn't seem so bad for a change.
I won't be objective on that one, since it's certainly my favorite movie but it is insanely awesome. I know how Aronofsky got despised by the critics, and I just don't give a damn. The Foutain is harmonious (plot-actors-screenplay) and it evokes me sad memories. Yet, there is one thing wrong : the dialog lines are a bit too naive, too dramatic.
And there is Randy from My name is Earl ! \o/
The Fountain is absolutely my all-time favorite film. Aronofsky may have spent nearly six years making this film, but every second was well worth it and well appreciated by his fans. The acting performance, the dialogue, the writing, the direction, the lighting and cinematography was flawless. The use of gold tones throughout the film was amazing. Oh and possibly Clint Mansell's best scoring ever.
In this case, Aronofsky doesn't convince me. On the technical level there are some remarkable aspects and the visuals are sometimes impressive although they turn into mere kitsch in the end (also thanks to Clint Mansell's repetitive score). One of the most disappointing things is that the director uses his abilities to blow up a simplistic message and to romanticise the deeds of the Spanish conquistadors.
(Some) ingredients are there. There is some good cinematography (like the one that produced the image we see in the film's profile here). But the storytelling does not hold together. The awful revisionism on what conquistadors were and inquisition was, turning Spain (and its Queen) into a victim of the inquisition is really awkard. Or maybe it's not revisionism, and I didn't get it. Maybe it's the character's lunacy.
It's sad really. This film had everything to be a masterpiece, but a clunky, over-stylised, metaphysical meta-narrative only obscures an emotional love story of one man trying to save his dying wife. You cannot criticise Aronofsky's ambition, and one wonders that if he was allowed to make the film on his original terms and budget, would the film have been better.