GATTACA
A film review by Steve Rhodes
Copyright 1997 Steve Rhodes
RATING (0 TO ****): *** 1/2
Has that body of yours not lived up to your expectations? Has it not proved suitably adroit? And has your mind been all too fallible?
Well, if you lived in "the not too distant future" as Vincent does, then you could blame your defects on your parent's choice. Unless they recklessly conceived you in a "natural" or "faith" birth, you were genetically engineered in a petri dish, and your parents got to choose all of your characteristics from the best of their genes. All they needed to do was make their desires known to the genetic counselor and science took over from there.
Although this may sound like Aldous Huxley's "Brave New World," the mesmerizing new thriller GATTACA by writer and director Andrew Niccol has closer genetic kinship with CONTACT for its love of science and its mystical aura of an unknown future. Whereas CONTACT was laden with pretension, GATTACA, in contrast, takes a more lyrical than literal approach. Both share a surprising tranquillity even when their characters are being overwhelmed by the situation at hand.
The movie GATTACA comes with its own fail-safe system. Even if you hate the story -- highly unlikely -- the production will dazzle you with its striking beauty. Unless all Hollywood misses seeing the film, there will undoubtedly be a host of Academy Award nominations for the film's artistic achievements.
The sets by Jan Roelfs (LITTLE WOMEN) are breathtaking. From the futuristic treadmills to the desks surrounded by short cylindrical cubicles to the sleekly cold and starkly massive buildings, every set is a treat for the eyes. Slavomir Idziak's bronze-hued cinematography and the dreamy music by Michael Nyman (THE PIANO) give a peaceful edge to an intense story. The GQ uniform-like attire by Colleen Atwood (LITTLE WOMEN) reminds one of the lemmings-like schoolroom scene from PINK FLOYD - THE WALL. Even the film's hair stylist, Bette Iverson, deserves special mention for the high greasy sheen look. The net result of this creative team is to transport you to the future without heavy reliance on science fiction gadgets or fancy special effects.
"They used to say that 'a child conceived in love is a child of happiness,'" complains Vincent, the film's protagonist. "They don't say that any more." Vincent, played with suitably cold precision but an undeniable inner charm by Ethan Hawke, has been branded for life by his parent's indiscretion. He was born because of an assignation in the backseat of a car rather than the proper mixing in a test tube. When the machine at his birth pronounced that his heart had a ninety-nine in a hundred chance of failure by age thirty, his parents decided not to gamble again. They paid the money necessary to ensure that Vincent's brother Anton (Loren Dean) would have a scientific birth.
The future belongs to the genetic upper class. "We now have discrimination down to a science," complains the genetically challenged Vincent. Jobs go to the perfect, and constant urine and blood tests ensure that none of the riffraff sneaks in.
Vincent has a single desire in life, to become an astronaut. Although the best he can do is secure a position as a night-time janitor in the space agency, Vincent has a plan, and what a plan, to break into the elite corps.
Vincent procures the aid of a DNA broker (Tony Shalhoub) to fake an identity. Using the DNA from a donor named Jerome (Jude Law), the broker tells Vincent, "you could go anywhere with this guy's helix tucked under your arm." And he does. With an interview that consists of nothing more than a blood test, Vincent, hence forward known as Jerome, starts work as an astronaut. The riveting story devotes more time to the minutia of the ways the two Jeromes contrive to fool the agency than to the fake Jerome's romantic attachment to fellow agency scientist Irene Cassini (Uma Thurman).
All of the acting is exceptional with Ethan Hawke, especially in his voice-over, being the best. In a richly textured show, many minor characters stand out. Alan Arkin and Loren Dean, for example, are marvelous as a detective and his investigator who look into the mysterious death of the director of the space agency. The film has enough material for a much longer film, but editor Lisa Zeno Churgin manages somehow to trim it down to normal length with the result that every minute is captivating.
In a film with so many high points it becomes difficult to highlight a few. One has to be the chemistry between the real Jerome and his genetic fake. "I got the better end of the deal," reflects the genetic donor to his donee. "I only lent you my body, but you lent me your dreams." Even the small aspects such as the frequent rockets blazing off to the far planets give the show a serenity that has to be seen to be properly appreciated. My personal favorite: the way one character deduces that the space agency's astronaut is the ersatz Jerome. GATTACA is the rare show that far surpasses its already promising trailers.
GATTACA runs a fast 1:52. It is rated PG-13 for a scene of a dead body and for mature themes. Although the film would be acceptable for kids nine and up, they probably need to be teenagers to be interested.
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