Movie Review - Vanilla Sky
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2001 / 135 Minutes / R
Reviewed by Dale Nauertz
“Vanilla Sky” has earned many comparisons to “Memento”, and I can sorta see why. Both of them deal with the nature of the mind, and memory, and experience and reality. Both of them screw quite effectively with the head of the viewer. And both of them involve bodily mutilation. While “Memento” only deals in tattoos, “Vanilla Sky” has a protagonist who loses half his face in an automobile accident. Both of them raise interesting, challenging questions about identity and worth. And both of them are well worth your viewing time and filmgoing dollar. But while “Memento” is a fascinating, enigmatic mystery, “Vanilla Sky” is a…fascinating, enigmatic mystery. But it’s also a lot more. Look closer, as “American Beauty” says, and there are many layers underneath.
While I thought that the critics who liked “Memento” so much were maybe reading a little too much into it (perhaps I was just not reading enough into it, whatever), “Vanilla Sky” exists on so many levels, so many planes, that it’s impossible not to read a lot into it. If you are an intelligent, open-minded viewer, that is. If not, don’t even bother with “Vanilla Sky”, you’re just going to be pissed off by it.
“Vanilla Sky” opens with a guy who appears to have the world on a string. Tom Cruise plays a guy named David. David is the head of a large publishing firm. Though he hasn’t really had to work that hard for it. He basically had it handed to him on a silver platter. He’s a smug, narcissistic child masquerading as a man. He has a great car, a great job that’s easy to maintain, a huge apartment, and a lovely woman who is only his “fuck buddy” (Cameron Diaz). Then he begins to make lovey-dovey eyes at his best friend’s (Jason Lee) date (Penelope Cruz) and shortly thereafter, everything goes into a tailspin. Cameron gets very jealous and takes him for a car ride which culminates in her driving off a bridge and killing herself, leaving him horribly disfigured.
It’s shortly after this that David’s wonderful life goes straight to hell.
The film unfolds like a dream and is open to a couple different interpretations. But fear not, Cameron Crowe explains everything at the end. If you have seen the Spanish film “Abre Los Ojos” (”Open Your Eyes”), then you have seen a version of this film. And if you have seen that version before this one, as I had, then you know where the story is going. And knowing such does not ruin the experience. On the contrary, I believed that this knowledge enhanced the experience and enriched my understanding of David’s journey. I knew where the film was taking me and, therefore, I knew to look for the clues and I enjoyed the ride. Thus, I cannot really judge it from the standpoint of one who has not seen the film. I believe if you just sat back and let the story weave its delirious spell, you will be challenged and entertained. I believe you will have a marvelous time. The structure of this film (like that of the Spanish film which came before it) could have used some fine-tuning. But no matter. It is a puzzle of a film, toying with your perceptions and turning them on their head throughout the course of the film. If this sounds like your cup of tea, if you like a movie that does not take you by the hand and lead you like a child through the machinations of the plot but instead lets you work at what you are seeing and attempt to discover things for yourself, then you and this film will get along just fine. If not, I wish you would give this one a try anyway. But you’d probably just be frustrated and disappointed by it. So just see “Harry Potter” again, why don’t ya.
I’m not saying it’s a perfect film. Not quite. But the performances are all very good. Tom is not at the pinnacle of his expertise here, but he is uncommonly good. Jason Lee is great as his best friend. Cameron Diaz makes a striking impression with her limited screen time, she definitely leaves a lasting mark, in more ways than one. Penelope Cruz was decent, giving one of her finest performances thus far. And Kurt Russell is great as the psychiatrist trying to sort the contents of Tom’s scattered brain. I also dug Noah Taylor (last seen as Stillwater’s manager in “Almost Famous”) in his strange little turn. And Cameron Crowe’s dialogue does the usual magnificent job of popping off the screen and putting most other movie dialogue to shame. He also does a great job of directing the piece. You wouldn’t think that he would do so well with a film that is a mystery, a thriller, a puzzle and a sci-fi film by alternate turns, but he nails it. He brings his mastery of pop culture know-how and his fluidly graceful sense of character development to a new genre and breathes new life into it.
Of the two mind-benders this year, I must say that I prefer this one to “Memento”. It’s much more fulfilling, more rewarding, more engrossing. It worked on more levels. “Memento” always felt like a clever gimmick to me (which is not to say that it isn’t a wondrous little movie) but this one managed to transcend the gimmickry for me and become something more. It’s also better written. Of this and the Spanish version, I would also choose this one. The acting is better, the canvas is a tad broader, and the writing is more sharp.
It’s not quite an “A+” in my book, but it’s definitely a worthwhile ride. It’s a mind trip, true, every bit the one that “Total Recall” was. But the trip is worth taking.
