Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Dylan Thomas (1951)
Over the last few years a lot of movies -among other things- seem to have shrunk in ambition while appearing to be”bigger.” The Transformers series of movies are perhaps the best example. Best way to turn off your brain while watching fights of giant robots and cool explosions? Sure. But while mega-budget blockbusters focus on size, many of them lack ambition and scope. Art, entertainment, and movies in particular, given their reach, matter a lot in terms of what they reflect of us and what they can inspire. For all their grandiose intergalactic-battle-of-the-ages mumbo jumbo, Transformers and other similar movies always feel small, and petty. Humans in them are relegated to bit actors that appear to be props necessary for the real heroes (in this case, giant alien robots) to gain, or regain, inspiration and do what they must do. And always, always by chance. Random people turn into key characters in world-changing events just because they stumbled into the wrong, or right, (plot)hole.
Now, people turned into “the instruments of fate (or whatever),” if you will, is certainly a worthwhile theme and something that does happen. But stories in which the protagonists (and people in general) take the reins and attempt to influence large-scale events through hard work, focus, cooperation, even -gasp!- study, became less common for a while. Art reflects the preoccupations and aspirations of society, and it seems that by the mid-to-late 2000s we had become reliant on the idea of the world as reality TV – success is random and based on freakish circumstances, or, just as often, on being a freak of some sort. This isn’t a phenomenon isolated to science fiction — westerns, for example, declined in popularity but also turned “gritty” or “realistic” and in the process, for the most part, trading stories of the ‘purity of the pioneering spirit’ or ‘taming the frontier’ with cesspools of dirt, crime, betrayal and despair.
Given the reality of the much of the 20th century, it was probably inevitable that a lot of art (popular or not) would go from a rosy, unrealistically happy and/or heroic view of the past, present, and future, to a depressing, excessively pessimistic view of them. Many of the most popular heroes in our recent collective imaginations are ‘born’ (by lineage, by chance, etc) rather than ‘made’ by their own efforts or even the concerted efforts of a group. Consider: Harry Potter, the human characters in Transformers (and pretty much any Michael Bay movie since Armageddon), even more obviously commercial efforts like Percy Jackson or Twilight along with other ‘young adult’ fiction and with pretty much all other vampire movies, which have the distinction of creating ‘heroes’ simultaneously randomly and through bloodlines, the remake of Star Trek turned Kirk joining Starfleet into something he didn’t really want to do; the characters in The Walking Dead; the grand-daddy of all of these: Superman… and, even, as much as I enjoy The Lord of The Rings, nearly everything about its view of good and evil involves little in the way of will and intent from the main characters. Characters talk a great deal about the importance of individuals and their actions, but in the end they’re all destined to do what they do and the key turning points are best explained as either ‘fate’, simply random, or manipulated by people of ‘greater wisdom and/or power’ like Gandalf, Galadriel, Elrond and so on. Good and evil are defined along the lines of an eugenics pamphlet in a way that gets to be creepy more often than not (the ‘best’ are fair-skinned, with blue or green eyes, and from the West, the ‘worst’ are dark-skinned, speak in hellish tongues and are from the East, along with an unhealthy obsession with bloodlines and purity of blood, and so on; Gandalf “progresses” from Gray to White, while Saruman falls from being the leader as Saruman the White into shrunken evil serving Sauron, the Dark Lord… as “Saruman of Many Colours”… you get the idea).
All of which is to say: I don’t think it’s a coincidence that in this environment good Science Fiction in general and space exploration SF is always relegated a bit, particularly in movies. There is nothing random about space exploration: it requires an enormous amount of planning, study, effort, hard work, and money. You can’t inherit a good space program. It has to be painstakingly built, and supported, across decades. When a not-insignificant percentage of society flatly discards basic scientific theories in favor of religious or political dogma while giving an audience to Honey Boo Boo or Duck Dynasty, it’s not illogical for studios to finance another animated movie with talking animals than to push people beyond their comfort zones.
Even so, there’s always been good SF, if perhaps not as frequently as SF fans would like. And over the last 20 years we have started to see Fantasy/SF stories that combine a more “realistic” view of the world, but mixed in with the more idealistic spirit of movies like The Right Stuff. In these we have characters succeeding, or at least ‘fighting the good fight’, through exertion of will, the resolve to change their reality. And even if there’s an element of ‘fate’ or chance in the setup, the bulk of the story involves characters that aren’t just pushed around by forces beyond their control. Nolan’s Dark Knight trilogy, Avatar, Serenity, most of Marvel’s new movies: Iron Man, Captain America, The Avengers, Watchmen. In books, the Already Dead series and the Coyote series, both of which could make for spectacularly good movies if ever produced. In TV, Deadwood, which is perhaps the best TV series of all time, was a good example of the same phenomenon — it felt realistic, but realistically complex, with characters that weren’t just swept up in events, and that exhibited more than one guiding principle or idea. We got ‘smaller’ movies like Moon that were excellent, but large-scale storytelling involving spaceflight that wasn’t another iteration of a horror/monster/action movie is something I’ve missed in the last few years.
What about last year’s Gravity? It was visually arresting and technically proficient but fairly mundane in terms of what actually happens. It’s not really inspiring — it’s basically the story of someone wrecking their car in the middle of the desert and having to make it to the next gas station… but in space, the focus on experiencing a spiritual rebirth, and in case we were confused about the metaphor the see the main character literally crawl out of mud and water and then slowly stand and start to walk. Bullock’s character in Gravity is also one of those guided by circumstances, frequently displaying a lack of knowledge about spaceflight that even the original monkeys that flew in the early space missions would have slapped their foreheads about.
Which brings me to Interstellar. No doubt it will be compared to 2001: A Space Odyssey (with reason) and with Gravity (with less reason). Interstellar is more ambitious than 2001 in terms of science, matching it or exceeding it in terms of story scope and complexity, while leaving Gravity in the dust. 2007’s Sunshine shares some themes and some of the serious approach to both science and fiction (… at least the first 30 minutes or so, afterwards it shares more with Alien) as well as with the (in my opinion) under-appreciated Red Planet (2000) and even some elements of the much less convincing Mission to Mars. It also reminded me of Primer in terms of how it seamlessly wove pretty complex ideas into its plot.
We haven’t had a “hard” SF space movie like this for a while. Key plot points involving gravitational time-dilation, wormholes, black holes, quantum mechanics/relativity discrepancies… even a 3D representation of a spacetime tesseract (!!!!). 2001 was perfect about the mechanics of space flight, but Interstellar also gets as deep into grand-unified theory issues as you can probably get without losing a lot of the audience, and goes much further than 1997’s Contact. There are some plot point that are weak (or, possibly, that I may have missed an explanation for, I’ll need another viewing to confirm…), and sometimes there are moments that feel a bit slow or excessively, shall we say, ‘philosophical’, although in retrospect the pauses in action were effective in making what followed even more significant.
Comparisons and minor quibbles aside, Interstellar is spectacular; the kind of movie you should, nay, must watch in a theater, the bigger screen the better, preferably on IMAX.
The movie not only has a point of view, it is unapologetic about it. It doesn’t try to be “balanced,” and it doesn’t try to mix in religion even as it touches on subjects in which it frequently is mixed in the name of making “all points of view heard.” Interstellar is not “anti religion” … and it is not pro-religion either. There’s a fundamental set of circumstances in the plot that allows the movie to sidestep pretty much all of the usual politics and religion that would normally be involved. Perhaps someone can argue whether those circumstances are realistic (although something like the Manhattan project comes to mind as an example of how it can actually happen). But the result is that the movie can focus almost exclusively on science, exploration, our ability to change things, either individually or in groups.
This, to me, felt truly refreshing. Everything that has to do with science these days is mixed in with politics and/or religion. This also helps the story in its refusal to “dumb things down”… its embrace of complexity of ideas, even if less focused on a lot of specific technical details than, say, Apollo 13 was, which is a natural result of having the Apollo data at hand.
How many people, I wonder, know by now what NASA’s Apollo program really was? Sometimes it seems to be relegated to either conspiracy joke material or mentioned in passing to, for example, explain how your phone is more powerful than the computers that went to the moon. Somehow what was actually attempted, and what was actually achieved, isn’t remarkable anymore, and the true effort it took is less appreciated as a result. With that, we are making those things smaller, which gives us leeway to do, to be less. It makes “raging against the dying of the light” sound like a hopelessly romantic, useless notion. It justifies how approaching big challenges these days frequently happens in ways that makes us “involved” in the same way that Farmville relates to actual farming. Want to feel like you’ve solved world hunger? Donate $1 via text to Oxfam. Want to “promote awareness of ALS”? Just dump a bucket of ice water on your head. Want to “contribute in the fight against cancer”? Add a $3 donation while checking out of the supermarket. No need to get into medicine or study for a decade. Just bump your NFC-enabled phone against this gizmo and give us some money, we’ll do the rest.
I’m not saying that there is no place for those things, but recently it seems that’s the default. Why? Many commentators have talked about how these days we lack an attitude best described by Kennedy’s famous line “Ask not what your country can do for you, as what you can do for your country”. But I don’t think the issue is not wanting to do anything, or not wanting to help. I think the issue is that we have gotten used to being scared and feeling powerless in the face of complexity. We’ve gone from the 60’s attitude of everyone being able to change the world to feeling as if we’re completely at the mercy of forces beyond our control. And we’ve gone overboard about whatever we think we can control: people freaking out about the use of child seats in cars, or worrying about wearing helmets when biking, while simultaneously doing little as societies about the far greater threat of climate change.
When education was a privilege of very few, very rich people, it was possible for pretty much everyone to accept a simplistic version of reality. That was before affordable mass travel, before realtime communications, before two devastating world wars and any number of “smaller” ones. Reality has been exposed for the truly messy, complicated thing it is and always was. But instead of embracing it we have been redefining reality downwards, hiding our collective heads in the sand, telling ourselves that small is big. Even heroism is redefined — everyone’s a hero now.
Interstellar is important not just as a great science fiction movie, not just because it is inspiring when it’s so much easier to be cynical about the past, the present or the future, but also because beyond what it says there’s also how it says it, with a conviction and clarity that is rare for this kind of production. It’s not a coincidence that it references those Dylan Thomas verses more than once. It’s an idealistic movie, and in a sense fundamentally optimistic, although perhaps not necessarily as optimistic about outcomes as it is about opportunities.
It’s about rekindling the idea that we can think big. A reminder of what we can attempt, and sometimes achieve. And, crucially, that at a time when we demand predictability out of everything, probably because it helps us feel somehow ‘in control’, it is also a reminder in more ways than one that great achievement, like discovery, has no roadmap.
Because if you always know where you’re going and how you’re getting there you may be ‘safe’, it’s unlikely you’ll end up anywhere new.