MadsenOMC
08-26-2006, 06:25 PM
SPOILERS!!!!!!!!!!!!!!!
Though not as satisfying as Eternal Sunshine of the Spotless Mind, writer/director Michel Gondry’s The Science of Sleep is a delightfully bizarre and visually arresting film.
Essentially this is a love story, but not the kind I expected it to be. For some reason I thought Gael Garcia Bernal’s Stephane would spend the entire film chasing after his neighbor, Stephanie (Charlotte Gainsbourg). That is not the case.
Stephane has come from Mexico to Paris because his mother has promised him a job in graphic design that will allow him to utilize his creativity.
The job is for a small firm that produces generic calendars, and in fact it does not require any creativity from Stephane. That is actually frowned upon. In a hilarious scene, Stephane tries to sell his unusual concept for a calendar to his boss. It involves the 12 most infamous disasters in world history, including a fire in Mexico City and a flight that crashes over the North Atlantic in the ‘90s (can’t remember the exact flight number).
His boss is appalled and informs Stephane that people want simple calendars featuring puppies and flowers and such. Stephane is crushed and hates the job.
Meanwhile, Stephanie has recently moved in next to Stephane, though she is not immediately aware that they are neighbors because he does not want her to know this. He shows her his “inventions,” including 3D glasses and a machine that allows you to go back or forward in time one second, and initially it appears that she is quite taken with this odd but charming young man.
Stephane, however, is oblivious to this. Apparently he does not have much experience with the opposite sex. He is also increasingly engrossed with his dreams, which act as sort of a sanctuary for him. He can escape from or alter reality. The more he retreats to his dreams, the more difficult it is for him to decipher between what is real and what is in his head.
When Stephane finally does come to the realization that he has feelings for Stephanie, he discovers that it is not mutual. She does not want a boyfriend and is not romantically interested in him.
The dream sequences, which often involve either Stephane at work or hosting a talk show, are inventive and clever. Alternately simple and elaborate and frequently very funny, the low tech effects used in them are a joy.
As enchanting as The Science of Sleep is, it lacks the emotional resonance of Eternal Sunshine. Stephanie is not as well drawn as Clementine, and we don’t care about the fate of Stephane and Stephanie in the same way we did about Joel and Clementine.
Despite that, Gondry’s unique blend of whimsy and romance is still effective, and Bernal gives a wonderful performance. It is impossible to imagine another actor playing this role.
Not without its rough patches, The Science of Sleep has an absolutely perfect ending that more than redeems its shortcomings. Without giving too much away, it’s ambiguous enough to be open to interpretation while simultaneously capturing the tone Gondry has established with Stephane’s dreams.
Ultimately, The Science of Sleep is hard to categorize and explain, but it’s original in a way that doesn’t call too much attention to itself. It feels intimate, like the kind of movie where every single shot, for better or worse, is meticulously chosen and part of the director’s precise vision. Thankfully, the vast majority are for the better.
8/10
Though not as satisfying as Eternal Sunshine of the Spotless Mind, writer/director Michel Gondry’s The Science of Sleep is a delightfully bizarre and visually arresting film.
Essentially this is a love story, but not the kind I expected it to be. For some reason I thought Gael Garcia Bernal’s Stephane would spend the entire film chasing after his neighbor, Stephanie (Charlotte Gainsbourg). That is not the case.
Stephane has come from Mexico to Paris because his mother has promised him a job in graphic design that will allow him to utilize his creativity.
The job is for a small firm that produces generic calendars, and in fact it does not require any creativity from Stephane. That is actually frowned upon. In a hilarious scene, Stephane tries to sell his unusual concept for a calendar to his boss. It involves the 12 most infamous disasters in world history, including a fire in Mexico City and a flight that crashes over the North Atlantic in the ‘90s (can’t remember the exact flight number).
His boss is appalled and informs Stephane that people want simple calendars featuring puppies and flowers and such. Stephane is crushed and hates the job.
Meanwhile, Stephanie has recently moved in next to Stephane, though she is not immediately aware that they are neighbors because he does not want her to know this. He shows her his “inventions,” including 3D glasses and a machine that allows you to go back or forward in time one second, and initially it appears that she is quite taken with this odd but charming young man.
Stephane, however, is oblivious to this. Apparently he does not have much experience with the opposite sex. He is also increasingly engrossed with his dreams, which act as sort of a sanctuary for him. He can escape from or alter reality. The more he retreats to his dreams, the more difficult it is for him to decipher between what is real and what is in his head.
When Stephane finally does come to the realization that he has feelings for Stephanie, he discovers that it is not mutual. She does not want a boyfriend and is not romantically interested in him.
The dream sequences, which often involve either Stephane at work or hosting a talk show, are inventive and clever. Alternately simple and elaborate and frequently very funny, the low tech effects used in them are a joy.
As enchanting as The Science of Sleep is, it lacks the emotional resonance of Eternal Sunshine. Stephanie is not as well drawn as Clementine, and we don’t care about the fate of Stephane and Stephanie in the same way we did about Joel and Clementine.
Despite that, Gondry’s unique blend of whimsy and romance is still effective, and Bernal gives a wonderful performance. It is impossible to imagine another actor playing this role.
Not without its rough patches, The Science of Sleep has an absolutely perfect ending that more than redeems its shortcomings. Without giving too much away, it’s ambiguous enough to be open to interpretation while simultaneously capturing the tone Gondry has established with Stephane’s dreams.
Ultimately, The Science of Sleep is hard to categorize and explain, but it’s original in a way that doesn’t call too much attention to itself. It feels intimate, like the kind of movie where every single shot, for better or worse, is meticulously chosen and part of the director’s precise vision. Thankfully, the vast majority are for the better.
8/10