| The Cell | |
|---|---|
Original film poster |
|
| Directed by | Tarsem Singh |
| Produced by | Julio Caro Eric McLeod |
| Written by | Mark Protosevich |
| Starring | Jennifer Lopez Vince Vaughn Vincent D'Onofrio Jake Weber Dylan Baker Marianne Jean-Baptiste Jake Thomas Dean Norris |
| Music by | Howard Shore Master Musicians of Jajouka |
| Cinematography | Paul Laufer |
| Editing by | Robert Duffy |
| Distributed by | New Line Cinema |
| Release date(s) | August 18, 2000 |
| Running time | 107 minutes |
| Country | United States |
| Language | English |
| Budget | $33 million |
| Box office | $104,155,843 |
The Cell is a 2000 science fiction psychological thriller film directed by Tarsem Singh, and starring Jennifer Lopez in the lead role.
Contents |
Child psychologist Catherine Deane (Lopez) is an expert in an experimental treatment for coma patients: a virtual reality device that allows her to enter into the minds of her patients and attempt to coax them into consciousness. When serial killer Carl Rudolph Stargher (Vincent D'Onofrio) falls into a coma before the FBI can locate his final victim, Agent Novak (Vince Vaughn) persuades Deane to enter Stargher's mind and discover the victim's location.[1] Stargher's victim is imprisoned in a cell in the form of a glass enclosure that is slowly filling with water by means of an automatic timer.
Deane enters Stargher's twisted mind, where she is confronted by both the violent and innocent parts of the killer's psyche. The innocent half shows her the abuse he suffered at his father's hands, and the birth of his pathology when he drowned an injured bird as a mercy killing. Deane attempts to nurture the innocent side of Stargher's mind, but his murderous half thwarts her at every turn.
Despite Deane's best efforts, she becomes trapped in Stargher's dark dreamscape. Novak volunteers to enter Stargher's mind and attempts to rescue her. He breaks Deane from Stargher's hold and discovers clues to the whereabouts of his victim, Novak relates his revelations to his team and they are able to track down the location of Stargher's victim (Stargher had been entrusted by a company to take care of an advanced water pump, which he used to fill the cell with water). Novak discovers Stargher's secret underground room and saves Stargher's victim just in time. Meanwhile, Deane decides to reverse the process and pull Stargher's mind into her own. She presents Stargher's innocent side with a paradise, but his murderous side is always present, and manifests as a serpent. This time, however, Deane has all the power; she attacks the serpent-Stargher, but discovers that she cannot destroy one half without killing the other. Stargher's innocent side reminds her of the bird he drowned, and she kills him to put him out of his misery. She adopts Stargher's dog, and successfully uses her new technique on her other coma patient.
Some of the scenes in The Cell are inspired by works of art. A scene in which a horse is split into sections by falling glass panels was inspired by the works of British artist Damien Hirst. The film also includes scenes based on the work of other late 20th century artists, including Odd Nerdrum, H. R. Giger, and the Brothers Quay. Tarsem — who began his career directing music videos such as En Vogue's "Hold On" and R.E.M.'s "Losing My Religion" — drew upon such imagery for Stargher's dream sequences. In particular, he was influenced by videos directed by Mark Romanek, such as "Closer" and "The Perfect Drug" by Nine Inch Nails, "Bedtime Story" by Madonna, and the many videos that Floria Sigismondi directed for Marilyn Manson. During a scene, Jennifer Lopez falls asleep watching a film, the film is Fantastic Planet. In the scene where Catherine talks with Carl while he is "cleaning" his first victim, the scenery resembles the music video "Losing My Religion" by R.E.M.; that video was directed by this film's director, Tarsem Singh.
The scene where Peter Novak first enters the mind of Carl Stargher, and is confronted by three females with open mouths to the sky is based on the painting "Dawn" by Norwegian painter Odd Nerdrum. Director Tarsem Singh asked Tara Subkoff during her interview if she could swim, to which she responded that she could and that she had been a lifeguard. It turned out that she could not go under water without holding her nose. Singh would have switched her role with Catherine Sutherland, but it was too late and there was not enough money or time to re-shoot. The scene when Catherine Deane is chasing Carl through a stone hallway, right before she enters the room with the horse, is based on a painting by Swiss surrealist H.R. Giger called "Schacht".
Concerning the architectural settlements of the movie, the scene where the Special Agents are trying to convince Dr. Catherine Deane to enter the killer's mind to find out where he's got captive his newest victim was recorded at Mies Van Der Rohe's German Pavilion in Barcelona, Spain.
Critical reaction to The Cell has been mixed , with a score of 45% on Rotten Tomatoes.[2] Roger Ebert gave the film four stars out of four, writing: "For all of its visual pyrotechnics, it's also a story where we care about the characters; there's a lot at stake at the end, and we're involved. I know people who hate it, finding it pretentious or unrestrained; I think it's one of the best films of the year."[3] Ebert later placed the film on his list of "The Best 10 Movies of 2000", writing: "Tarsem, the director, is a visual virtuoso who juggles his storylines effortlessly; it's dazzling, the way he blends so many notes, styles and genres into a film so original."[4]
James Berardinelli gave the film three stars out of four, writing: "The Cell becomes the first serial killer feature in a long time to take the genre in a new direction. Not only does it defy formulaic expectations, but it challenges the viewer to think and consider the horrors that can turn an ordinary child into an inhuman monster. There are no easy answers, and The Cell doesn't pretend to offer any. Instead, Singh presents audiences with the opportunity to go on a harrowing journey. For those who are up to the challenge, it's worth spending time in The Cell."[5]
Conversely, Stephen Hunter of The Washington Post called it "contrived", "arbitrary", and "overdrawn".[6] Slate's David Edelstein panned the film as well, writing: "When I go to a serial-killer flick, I don't want to see the serial killer (or even his inner child) coddled and empathized with and forgiven. I want to see him shot, stabbed, impaled, eviscerated, and finally engulfed — shrieking — in flames. The Cell serves up some of the most gruesomely misogynistic imagery in years, then ends with a bid for understanding."[7] Jonathan Rosenbaum of the Chicago Reader remarked, "There's almost no plot here and even less character — just a lot of pretexts for S&M imagery, Catholic decor, gobs of gore, and the usual designer schizophrenia."[8]
The film received a nomination for the Academy Award for Best Makeup.
A sequel was released direct to DVD on June 16, 2009. The story centers on The Cusp, a serial killer who murders his victims, and then brings them back to life, over and over again until they beg to die. Maya (Tessie Santiago) is a psychic investigator and surviving victim of The Cusp, whose abilities developed after spending a year in a coma. Maya must use her powers to travel into the mind of the killer unprotected, in order to save his latest victim.
|
|||||