I recently happened across the 2012 film "Cloud Atlas", which must be one of the baggiest films ever made. Even reading the plot on the Wikipedia page leaves one befuddled. Yet it was great fun to watch, clearly an actor's feast and treasury of tropes and cultural references, six films packed into one. It is typical for science fiction films now to have huge ambitions and let plots go wild, sacrificing coherence for short-term motivation and effects. No reference to 2001 here- that would have been a harsh comparison, and overly optimistic.
The ensemble of actors get to play many roles, some have parts in each of the six stories set in different time periods. But no one crosses type. The good characters are always played by one set of actors, the bad guys by the other set. Nurse Noakes of the prison-like nursing home, in an inspired bit of cross-dressing, is played by Hugo Weaving, who also plays the killer Bill Smoke and the future executioner Boardman Mephi, among others. This helpfully keeps at least the good-guy/bad guy valence coherent, even as the rest of stories hop-scotch about wildly in time and place.
And what places! There is a matrix-like high-tech future dystopia, and even more dystopian low-tech lord-of-the-flies future beyond that, a seventies streets-of-San Francisco, Victorian shipping, wartime England, and the present. A grab-bag of well-worn settings, vivified by enthusiastic acting and propulsive, if perforated, plots.
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| Everything is confused. This DVD cover hints at the sprawling mess the Wachowski brothers attempted to bring to the screen. |
So what is it about? Each story has a basic good versus bad armature, whether of vast world-spanning oppression countered by a Zion/Keanu Reeves-style resistance, an oil industry plot to blow up a nuclear reactor, countered by a journalist, or an evil Hugh Grant who tries to lock up his brother in a nursing home, which the latter escapes in a crazy escape and chase sequence. The various worlds / times are tenuously linked by readings from their respective pasts. The farthest future uses a climactic speech from the Zion-like resistance as its scripture. The Zion resistance watches the nursing home caper for entertainment. And so forth. The real connections, however, are the politically correct tropes of contemporary movie making. The heroes are all good, the villains are all bad, and each is ready identified (cue music) whatever the age we may be in.
The relentlessness of this good/bad dichotomy easily knits the whole thing together even without an identifiable plot, yet is also a glaring philosophical weakness. We watch movies to be uplifted and gain some hope in a difficult world, and generally expect and deserve a happy ending. But films such as these prompt the question of why... Why are bad people so common throughout the ages? Why do they dominate epoch after epoch, world after world, when every single person in the audience is cheering for the good characters, not the bad? Isn't there something deeper to be said? Indeed, isn't this easy, Zoroastrian / Manichean dramatic dichotomy damaging to a mature understanding of the world and of ourselves?
If we simply cheer for the good, and from such flacid moral exercises believe we are good, doesn't that lead right to the moral blindness that these movies try so strenuously and earnestly to "address"? Doesn't it contribute to various unwoke blindnesses like white priviledge and American exceptionalism? Unless we interrogate our own involvement in evil, the needs and compromises we routinely make, which lead through the many white-washed, green-washed, and theo-washed institutions of greed and tribalism to all the bad effects we decry in the world around us, we have not gotten very far.
