This is my kind of movie. And I will be the first to admit that my kind of movie is certainly not for all tastes; especially, apparently, for the Saint Johners who were watching Vanilla Sky in the movie theatre at the same time as me. I heard constant whispering and speculation, but mostly a lot of people complaining. "I don't get it" they whined, or they would blurt out masterful plot deductions 20 minutes after some revelations that would be painfully obvious to any audience who hadn't been weened on (and who have supported nothing but) Freddie Prinze Jr. romantic comedies or Tim Allen lackluster blockbusters. Overhearing the rumblings was like listening to a squeaky wheel slowly, finally, turning after being rusty for decades. If any of the folks who had trouble with the chain of events would like some insight, I would be pleased to set up an information hotline. This way, perhaps this movie might find repeat business, which I don't think will currently happen if our little local exit poll is any indication.
Within just over a two-year span, Tom Cruise has churned out three of the most excitingly original films I've ever seen: Magnolia, Eyes Wide Shut, and now Vanilla Sky. Sky is a suspenseful, masterfully crafted film of daring vision with a spectacularly tight ending. Of course, director Cameron Crowe had 1997's source material, Abre los ojos, to work with in what is, essentially, a remake of the original (the English translation is Open Your Eyes). Two months ago, I caught most of the Spanish original (which also stars Penélope Cruz), but unfortunately I missed the final third of the movie. Being familiar with the interweaving storyline did not detract from the mesmerizing and mind-bending journey though, and I daren't call it cheating.
The film has been absolutely trounced by the nation's critics, who are using words like "pretentious" and "self-absorbed" to describe it. These words are probably quite appropriate, given how snide I myself was in my opening paragraph of this review. This movie, however, is deliciously rewarding to contemplate after the credits roll, and should generate lots of discussion particularly in light of its conclusion, which I wouldn't dream of divulging.
What's it about? A lot of things actually: love, sex, perceptions of reality, jealousy, appearances... but the reason Vanilla Sky works is because it seamlessly combines so many different genres and styles together and then resolves them all in a highly creative way -- it introduces the resolution through yet another genre.
The subject matter could cause concern that this intellectual piece might turn Kubrick-ingly cold on impact, but the three-way chemistry between David (Tom Cruise), Sofia (Penélope Cruz) and Julie (Cameron Diaz) -- and the way their relation to each other continues to change -- always keeps the emotional momentum in check. Cruise is on Best Actor cylinders here as a young executive who has inherited a magazine publishing empire from his father. Jason Lee is Brian, David's best friend who, in affairs of the heart, is always the bridesmaid but never the bride. Noah Taylor and Kurt Russell turn in exemplary supporting roles as mysterious figures who hold key facts of information, or are trying to retrieve information in turn from David. Diaz and Cruz are dazzlingly complex, particularly in the scenes when they appear onscreen quite unexpectedly.
The movie features a couple of tracks from Radiohead's Kid A album, which will put those who are familiar with that particular CD in the right state of mind as the movie unfolds. As always though, Cameron Crowe has selected aptly specific pop songs to provide atmosphere: "Sweetness Follows" by R.E.M., "Good Vibrations" by the Beach Boys, and "Solsbury Hill" by Peter Gabriel. It works (particularly the R.E.M. song, as well as a Bob Dylan tune) because it isn't trivial.
Vanilla Sky's opening sequence in downtown New York City owes a bit to the classic TV series The Twilight Zone with its alienation effect, and from that point onward, the thrill ride never stops. I'm still stuck as to why so many Saint Johners complained they didn't understand the film. Crowe expertly provides all of the answers and questions necessary to enjoy this wonderful work. All you have to do is open your eyes.
