CULT PROJECTIONS

UK | 2009 | Directed by Duncan Jones

Logline: A harvesting contractor who is working alone on the moon, and keen to return to his wife and baby daughter, is badly injured, so the earth-based company tries to rectify the situation, but a glitch has occurred with alarming results.

Moon joins the ranks of District 9; an intelligent, superbly made movie set in a disturbing future of industrial automation and conglomerate greed. District 9 can be viewed as sci-fi (being an action-horror movie), whereas Moon is classic sf (being based around more intellectual, even existential, ideas). Moon is essentially a one-hander played brilliantly by one of my very favourite actors, Sam Rockwell.

Director Duncan Jones (who grew up as Zowie Bowie, the son of David and Angie) provided the story, the screenplay of which was penned by Nathan Parker. It’s a fantastic premise that deals with the age-old themes of loneliness, identity, deception, and betrayal. This is old school filmmaking – homage, if you will – but handled with the skill and love of a true cinephile. There is a subtlety and level of nuance (both in performance and direction) that belies the movie’s contemporary release. Not many movies of this ilk are being made in the current climate of Transformer supertrash.

Several 70s movies come to mind while Moon unfolds (2001: A Space Odyssey, Solaris, Silent Running, Alien, Outland), but never does the movie feel derivative. That’s a big pat on the back to Jones for achieving a genuine sense of fascination. The movie is suspenseful and emotional. But kudos must go to Rockwell for his work. He plays a dual role (utilising the special effect which was pioneered for Jeremy Irons in Dead Ringers twenty years earlier). Irons should’ve been nominated for two Academy Awards (or at least one), but was snubbed, and so has Rockwell. It appears Moon has been snubbed altogether by the Academy for next year’s awards, which is an appalling injustice. The Academy has a strict set of voting rules that proves to knock out contenders that deserve recognition, yet keeps in others that are lesser movies. It’s a stinking kettle of fish.

Made on a modest budget of $5 million, Moon uses miniature models and was shot entirely on the Shepperton soundstages in just thirty-three days; extraordinary stuff. Apparently, due to a union strike, Jones was able to hire a top class production design team and special effects technicians. The production design and art direction especially is amazing, bearing a striking similarity to Alien, but in a good way. Even the typeface used in Moon’s Lunar Industries base and computer graphics appears to be exactly the same as that used in Alien (obviously a reference), suggesting both movies are from the same future.

Moon is a spooky, atmospherically resonant movie, rich in character and reference (was that Soylent I noticed in the galley?), restrained in the obvious sci-fi trappings, yet distinctly science fiction, but also high in factual concepts. NASA requested a private screening of the movie and were very impressed with Jones’ concept of Helium-3 mining (which is providing earth with an abundance of clean energy). I have reservations about GERTY (voiced with perfect nonchalance by Kevin Spacey, reminiscent of 2001: A Space Odyssey’s HAL 9000)’s directives and decisions, his primary role is curious, but significant. I’m choosing for once not to mention spoilers in respect for those of you who haven’t seen the movie.

Moon is a marvelous movie, succinct and provocative, edgy and rewarding, streaked with melancholy, yet it possesses a lilt of bittersweet hope, but ultimately it is steeped in irony and deception. It demands repeat viewings (like all good cult movies). It’s an instant future retro classic. Jones is definitely a voice and vision to watch.

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~ by brunodante on October 19, 2009. Tagged: clones, dual performance, homage, intellectual, multiple-timeframes, puzzle, Sam Rockwell, science fiction referecnes