#tarsemsingh

Best Music Video of 2020:
💊911💊 by Lady Gaga


One of Gaga’s best music videos in years mimics elements of her career, colorful unorthodox looks married with the unexpected. The unique aesthetic can be contributed to director Tarsem Singh’s inspiration of Sergei Parajanov’s ‘The Color of Pomegranates’ which he uses to symbolically represent the self inflicting lyrics of the pulsing track. The surrealism leads to an electrifying pound to the chest where Gaga’s newly displayed acting chops are front & center. When compared to Lady Gaga’s other sci-fi inspired, more mainstreamed #Chromatica music videos, 911 sticks out in the best way possible.


Back in the early days of this blog, I briefly mentioned The Cell in passing while sharing my thoughts on Fantastic Planet.  This brief mention, however, does not do my feelings towards this film justice... from my initial viewing in theaters up through my recent re-watch in preparation for this blog entry, my enjoyment, devotion and fascination to this film continues to grow.

Dr. Catherine Deane (Jennifer Lopez) is a child psychologist who practices a controversial and forward thinking form of therapy where she neurologically links with her comatose patients in hopes of helping them regain consciousness.  Deane’s latest patient, a young boy named Edward (Colton James) who is suffering from a rare form of viral infection-based schizophrenia, presents a challenge to her and her team, fellow doctors Henry West (Dylan Baker) and Miriam Kent (Mariannne Jean-Baptiste).  The pressure is multiplied by Edward’s parents, who are funding the project, due to their demands for results and threats of pulling Edward from the project.  Meanwhile, a serial killer named Carl Rudolph Stargher (Vince D’Onofrio) is leading Special Agent Peter Novak (Vince Vaughn) and his team on a frustratingly wild goose chase, having just disposed of his sixth victim and kidnapped Julia Hickson (Tara Subkoff), his potential seventh, in rapid succession.  Novak and his team catch a break by recovering paint samples and dog hairs from the scene of the sixth victim’s disposal, but by the time they reach Stargher, he has fallen victim to the very same schizophrenic-based coma that Edward suffers from.  In an act of desperation, Stargher is taken to Dr. Deane’s laboratory with the hopes that her neurological linking treatment can uncover the location of Hickson before she becomes the latest victim, but the process quickly turns into a psycho-surreal nightmare for Deane, Novak and all parties involved.

As someone who is not only fascinated with the complexity of the human mind, but fascinated with true crime as well, a film like The Cell is a perfect intersection of these two elements.  The depravity of Stargher’s twisted methods are still shocking 20 years later, and immediately put the viewer in the shoes of our multiple protagonists by giving us a fly on the wall perspective to his sick madness.  Focusing in on the psychological and physiological quandaries of being unable to differentiate imagination from reality, as well as the theoretical dangers of inviting the unknown into your mind, are grounds for high drama and tension.  Tarsem Singh’s ability to include symbolism that alludes to both the human psyche and other films also play well, not to mention the warped representations of key clues that mirror reality.

For anyone who appreciates production design, this film is a playground of powerful visual elements.  From the ‘fileted body’ suits used to house those taking place in the process, to the transition from reality into the mind, even down to Stargher’s home and dungeon, there is rarely a dull visual environment presented to the viewer.  I do think that the case could have been solved prior to Novak diving into Stargher’s psyche, as it seemed that seeing the company logo in Stargher’s head suddenly reminded him that you could track down purchase histories, but honestly that’s just me splitting hairs... and it would’ve robbed us of some classic Vince Vaughn being Vince Vaughn moments while he is on Stargher’s operating table.  In all honesty, you could mute this film and be blown away by the set design, costuming and emotion that radiates off of the faces of the actors.  The visual representation of Stargher’s victims that Dr. Deane encounters on her first trip into his mind will forever haunt me.

Jennifer Lopez did a good job of balancing her character between mother/protector and professional therapist, and really allowed her thought process to resonate through her facial expressions.  Vincent D’Onofrio’s performance is minimal in terms of dialogue, but he puts on a true masterclass in terms of movement and blocking, especially as the idealized Godlike version of himself that inhabits the dream world.  Vince Vaughn allows himself room for a grounded and nuanced performance, specifically by using the comedic edge he normally exudes as inner turmoil and frustration that guides his devoted passion to catch Stargher.  Dylan Baker and Marianne Jean-Baptiste not only play well off of one another in their role as a medical team, but allow their concerns and fears to stand in as surrogate for that of the audience.  Vaughn is surrounded by star character actors that completely engulf themselves in their special agent roles, especially Jake Weber and Dean Norris, while James Gammon plays the grizzled veteran without falling into trope territory.  Jake Thomas is surprisingly confident for such a young actor placed in such fantastic realms, and it’s the way that he owns his space but shows his fear that endears him with the viewing audience.  Tara Subkoff also does a lot with a little, with her role as the captive easily setting her up for a one-note performance, but her acting choices bucking against that and making the audience buy into her danger.  Appearances by Catheriene Sutherland, Colton James, Musetta Vander, Patrick Bauchau, Pruitt Taylor Vince, Lauri Johnson, Kim Chizevsky-Nicholls and Gareth Williams round out the cast.