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Gattaca (1997)
Sep. 2nd, 2020 11:06 pmI rewatched Gattaca last night for the first time in years, and yep, except for That One Thing at the end (I'm sure anyone who's seen the movie knows exactly what) it's still one of my all-time favorites, as well as the movie that originally sold me on Jude Law back in the '90s. Although all I can think now is how incredibly young he is. He's a BABY! His face looks so unformed! It's really wild watching it now, because he's just a few years older than me, and I saw this movie around the time it originally came out - probably just a year or two later - so obviously he didn't look that young to me then, because I was ALSO A BABY. I am also having a certain amount of trouble wrapping my mind around the idea that Ethan Hawke and Uma Thurman's daughter is all grown up now (she's Robin in Stranger Things).
But yeah, the movie is still lushly beautiful, and thematically very much my kind of thing. As much as I hated Jerome's ending and still do, I can't deny that it was set up from the opening scene with Vincent in the incinerator. This movie is so intricately constructed; it's one of those movies where you keep noticing new things and seeing new ways that even seemingly random details fit into the bigger picture. (The DNA-helix staircase!) I still want my happy OT3 ending though, dammit.
I went looking for deleted scenes on Youtube for the first time ever, and now I really wish they'd kept two of the ones that got cut, the one with Vincent's former boss from his janitor days, and the one with Anton and the detective. The final cut of the movie seems to have gone for a cooler, less emotional tone overall (there's a version of the script floating around out there with a warmer goodbye between Vincent and Jerome, too, including a hug) but I feel like both of these scenes would've given closure to those characters' emotional storylines - the janitor in particular feels like a dangling loose end, and both of these scenes underscore the movie's general themes of people connecting with each other, and helping each other, and being more - and sometimes less - than the sum of their genes.
And also, it's simply a gorgeous movie, with a limited color palette and a very unusual retro-future 1950s aesthetic. I noticed watching it this time that the deliberately retro sets and clothes and cars also make the now-dated 1990s computer tech and lack of cell phones seem less jarring - because it's all like that, and it simply fits in with the overall blend of advanced tech and retro stylings. The movie feels timeless, in a way, like it's floating in time instead of being anchored in either the time it was made or the time it's supposed to be set in (whenever that is).
But yeah, the movie is still lushly beautiful, and thematically very much my kind of thing. As much as I hated Jerome's ending and still do, I can't deny that it was set up from the opening scene with Vincent in the incinerator. This movie is so intricately constructed; it's one of those movies where you keep noticing new things and seeing new ways that even seemingly random details fit into the bigger picture. (The DNA-helix staircase!) I still want my happy OT3 ending though, dammit.
I went looking for deleted scenes on Youtube for the first time ever, and now I really wish they'd kept two of the ones that got cut, the one with Vincent's former boss from his janitor days, and the one with Anton and the detective. The final cut of the movie seems to have gone for a cooler, less emotional tone overall (there's a version of the script floating around out there with a warmer goodbye between Vincent and Jerome, too, including a hug) but I feel like both of these scenes would've given closure to those characters' emotional storylines - the janitor in particular feels like a dangling loose end, and both of these scenes underscore the movie's general themes of people connecting with each other, and helping each other, and being more - and sometimes less - than the sum of their genes.
And also, it's simply a gorgeous movie, with a limited color palette and a very unusual retro-future 1950s aesthetic. I noticed watching it this time that the deliberately retro sets and clothes and cars also make the now-dated 1990s computer tech and lack of cell phones seem less jarring - because it's all like that, and it simply fits in with the overall blend of advanced tech and retro stylings. The movie feels timeless, in a way, like it's floating in time instead of being anchored in either the time it was made or the time it's supposed to be set in (whenever that is).