Moon, a Philosophical Sci-Fi Film, Reviewed
Sam Rockwell stars in Duncan Jones' exploration of hope and loneliness
Jul 2, 2009
A quiet, contemplative metaphysical parable in the vein of Solaris and 2001: A Space Odyssey, Moon is nothing short of spellbinding from beginning to end, touching on themes of identity construct, loneliness, man’s need for hope and survival and the isolation of technological advancement. It’s smart but unpretentious, while deliberate and touchingly human. It seems that David Bowie’s son, Duncan Jones (aka Zowie Bowie) has a penchant for filmmaking and a little something to say about the state of humankind.
Earth's Energy Crisis and Environmental Plight Resolved
Slipping in necessary exposition and set up in the form of a brief infomercial, Earth’s energy crisis has been solved textually by the use of Helium 3 solar energy harvested by moon rocks. Those that have done their research may note the legitimacy of this theory. Sam Bell (Sam Rockwell) operates the moon station alone, on a three-year term, communicating with his earthbound wife (Dominique McElligott) through video voicemail, when not trading witticisms with a mobile Hal-like computer (voiced by Kevin Spacey).
Things get problematic when Sam starts seeing visions that eventually lead to a work-related accident far from home base. Further complicating things is a lack of short-term memory upon awakening and the discovery that the other him is still sitting injured in the lunar vehicle where the accident occurred.
Sam Rockwell Offers Mirroring Glances of Identity Construct
What unfolds is the relationship that man has with himself, as the surly, socially abrupt “new” Sam, finds his weakened, forlorn self, embarrassing and pathetic. Some commentary on the nature of social inundation pays notice to one’s tendency to appreciate others more so when presented in small doses. While abstract, the implication of urban alienation and anonymity causing hostility and natural indignation rings relevant and appropriately ironic, given the stark landscape of the moon.
While identity is at the forefront of the picture, it is man’s relentless hope in the face of insurmountable odds that defines the latter portion, with revelations of corporate malfeasance and the revelation of potential false identity. While we learn that Sam’s job may have an agenda of its own, the film smartly avoids corporate finger-pointing, acknowledging implicit capitalistic evils, while forging an empirical exploration of our willful delusion in hoping that things will get better if we just obey the rules.
A Welcome Change in a Transformers Dominated Cineplex
Reflections on evolution as inevitably artificial exist in the text, as does our relationship with the technology that eventually controls us. It’s all done with subtlety, unique beauty and simplicity, given the handful of sets and environments this all takes place in. Movies like this are rare, and should be celebrated by those of us who roll our eyes when crap like Transformers makes two-hundred million dollars at the box office.
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