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Children of Men 10 out of 10
Running time: 1:49 MPAA rating: R (Strong violence, language, some drug use and brief nudity.) Peruvian rating: Mayores de 18
Cast:
Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofore,
Claire-Hope Ashitey, Pam Ferris, Danny Huston, Peter Mullan.
Photography:
Emmanuel Lubezki |
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It’s amazing how, sometimes, masterful and powerful films can be ignored by audiences. I don’t know how well did Children of Men do in the States or in other countries; all I know is that it played in Peruvian theatres for only two weeks, and then it vanished. Maybe Peruvian viewers didn’t know much about the movie; maybe they weren’t attracted by the plot or characters, or maybe there wasn’t enough publicity for them to know about the film. Ether way, it’s a pity, for Children of Men is one of the best movies released in 2006, and one of my favourite films of all time. Yeah, no kidding. I may have only seen two Alfonso Cuarón movies – this and the third installment of the Harry Potter series – but I’m already a fan of his.
I haven’t read the P.D. James novel from which the movie is adapted, meaning I won’t be comparing it to its source material. Theo Faron (Clive Owen) lives in the year 2027, a time where mankind has been infertile. He’s recruited by a former lover, Julian (Julianne Moore), with whom he split 20 years before after their kid died. Theo is a cynical kind of person and almost a loser, but everything changes when he’s introduced to Kee (Claire-Hope Ashitey), the first young woman to be pregnant in years. His goal – and the goal of Julian and her friends – is to take her out of England and to a safe place run by an organisation known as the “Human Project.” There are some obstacles, though, since, while some people believe she’s a new kind of hope, others think of her as a tool. Ultimately, Theo becomes responsible for her, and receives help only from a midwife, Miriam (Pam Ferris) and an old hippie friend of his, Jasper. (Michael Caine.)
Before talking about “deeper” themes or more meaningful stuff, it must be said that one of the film’s qualities lies on more technical aspects. The camerawork is impressive, with Cuarón and his team using long, unbroken shots and sweeping camera movements. One scene in particular, in which Theo finds himself in the middle of a shooting, is breathtaking and tense, and boats excellent choreography and camerawork. (Reportedly, unlike a similar sequence earlier in the movie, it was filmed as a continuous shot and no computer tricks were used.) The tone of the movie bleak and depressing and the photography is great to look at, boasting desaturated colors and making the movie look almost black-and-white. Cuarón gives us a dark and pessimistic vision of the future and, while some people might not like his opinion, he’s made it as realistic, believable and ultimately impressive as possible.
The actors and actresses populating the film are also effective and sometimes impressive. None of them gives an over-the-top or exaggerated performance; on the contrary, everyone acts low-key, which blends with the overall tone of the movie and makes the proceedings feel more realistic. Clive Owen as the Theo plays a reluctant, flawed hero who, even though is not exactly likeable, progressively becomes more of a believer and less of a “loser.” Owen is credible both in the action sequences and in dialogue scenes, and never disappoints. Michael Caine and Julianne Moore don’t have much to do, but they are nonetheless compelling and energetic. (Well, at least energetic when compared to Theo.) Claire-Hope Ashitey in her debut role surprises, exhibiting strength and credibility, and making her character something more than a “package” to carry about. Chiwetel Ejiofore and Peter Mullan in their respective small, scene-stealing performances are welcome presences.
The movie is compelling in both technical terms and in the acting department, but it’s also a cautionary tale, boasting something of a “lesson”. Unlike other films, the “rebels” present in the movie aren’t the good guys; instead of having good guys and bad guys – black and white – every character is presented in shade of grays; everybody is flawed, even the protagonist. Cuarón wants to make a point about assisted suicide, immigration control and the portrayal of rebels, and he succeeds. Even if the movie didn’t contain any type of message it would have been extremely compelling; I consider these points a “bonus”, making the film more interesting and replayable. (Notice I haven’t read the original novel; from what I hear, it contains more ideas and powerful passages.)
Ultimately, Children of Men is an impressive, powerful and extremely enjoyable piece of filmmaking. Cuarón and his team have managed to make a tense, compelling and entertaining movie full of interesting ideas, great performances and exhilarating sequences. Some people might consider it a chase movie, but the context and setting are deep and interesting enough to make it something more remarkable. Children of Men is both exciting and thought-provoking. It’s a pity these kinds of films aren’t more successful but, fortunately, I was lucky enough to catch it on theatres three days before it vanished, and I’ve been watching it on DVD ever since.
©2007 Sebastián Zavala - GG site