Avatar | |||||||
Directed by James Cameron | |||||||
Written by James Cameron | |||||||
David Newbert
I've heard it said that if you scratch a cynic hard enough, you'll find a romantic underneath. It
certainly seems true of James Cameron, a cinematic visionary who creates blood-and-thunder epics that never
lose sight of their human aspect. His budget-busting force of will levels just about everything in its
path, with the end result being a spectacle built around a human-scale story that looks to inspire
real emotion. Say what you will about the King of the World, he tends to give good value for your
money. And now here is Avatar: a $300 million dollar blockbuster that employs the latest cinematic
technology to lift you into Cameron's dream of another world, and underscore the importance of appreciating
a simple life in Nature, before there was anything like an industrial revolution. Pause for irony…
Cameron's story is simple and well-worn -- maybe too worn, for some -- but sturdy. Mankind, in 2154, having ruined
the Earth, is in search of a necessary but rare mineral to keep modern society going (in the film, it's called
unobtainium -- that's scientist shorthand from the 50s for an element that would solve all of our problems, if only
it existed), and this mineral has been located in another system on a remote moon named Pandora. There are problems
to getting it: most of Pandora's flora and fauna -- even its air -- are deadly to humans, and the biggest deposit
of unobtainium yet found sits right below the ancestral home of Pandora's indigenous population, the Na'vi. Standing
twelve feet tall, with slim, feline features, and lovely blue skin, the Na'vi are a fierce warrior culture that has
endured by living in harmony with their planet's ecosystem. They certainly have no intention of leaving their home
to satisfy Earthly mining concerns -- and they don't particularly care for what they call the Sky People.
A venal, exploitative corporation (à la Alien) and a no-nonsense military
contractor (à la Aliens) have set up a base on Pandora to force the situation. They work alongside
human biologists who have been studying and interacting with the Na'vi using avatars, lab-grown versions of the Na'vi
bodies into which consciousness can be downloaded while the human bodies remain in suspended animation. (This is very
similar to the Poul Anderson story "Call Me Joe," from 1957.) The avatars are genetically keyed to the nervous
systems of specific individuals, and Jake Sully (Sam Worthington), a disillusioned and paraplegic ex-Marine, is
chosen for the program as a last minute replacement for his deceased twin brother. He isn't a scientist, which
initially draws the ire of the project's leader, Grace Augustine (a welcome Sigourney Weaver), a strong-willed
biologist who loves the Na'vi above all else. But Jake has a fearless heart and an intuitive mind, which also
draws the attention of Colonel Miles Quaritch (Stephen Lang, in an outstanding, bristly performance), who wants
to finish the mission of removing the Na'vi and get home as soon as possible. He sees Jake's excursions into the
Pandoran wilderness as opportunities to collect some field intelligence that could help eradicate the Na'vi ahead
of schedule. Things get complicated when Jake's life is saved by the Na'vi warrior princess, Neytiri (Zoe Saldana).
Ah, Neytiri. If there is anything to represent the technical breakthrough of Avatar, it's her. The
motion-capture technology that created previous digital characters -- from the awful Jar Jar Binks, to Smith and
Neo in the Matrix sequels, to Gollum, King Kong, and still others -- has taken a step forward here,
and it's hard not to think of a butterfly (a Pandoran butterfly, presumably) emerging from its shell. I understand
that Neytiri only exists as ones and zeroes in Cameron's computer files, but the impression in Avatar of her
being flesh and blood is magical. Small facial details, such as the way her tongue, lips and teeth interact, or
the expressions of her eyes, even the subtle glow of her skin, make Neytiri a viable onscreen presence, and it
allows Saldana to give an honest performance to fill the character with life, and not just indulge in a serviceable
pantomime (à la The Polar Express, or Beowulf). Her Neytiri projects a regal bearing, but
never seems untouchable or too distant -- she's compassionate and wise and brave, but not to be messed with, a
perfect guide for our introduction to the world of Pandora, and in what might be a first for a CGI character, also
remarkably sexy. (Of course, depending on how you're wired for this last feature, your mileage may vary.)
So Jake is saved and brought into the Na'vi tribe, and Neytiri is tasked with teaching him the native ways. Lucky
for him, Jake's a natural. It all leads to the two of them falling in love and taking a stand against the encroaching
humans, and unlike most films that have awesome battle sequences in their final thirds, in Avatar you actually care
about the outcome. It isn't just the winning or losing that compels your emotion, but the issues that people are
fighting for, the people that are doing the fighting, and their relationships to one another. It's the perfect
example of how to structure these kinds of screenplays.
And needless to say, since we know who the director is, that final battle is amazing. Cameron shows he has the same
mastery of an action scene's spatial coherence that Lucas does; the clash is on a huge scale, but you're never confused
as to what's happening or why. Don't trust the numbnuts who compared it to Ewoks vs. the Empire in Return of the
Jedi. It's far better, more complicated and believable, and plays out on a level reserved for the climactic struggle
of The Return of the King, with heroism and daring and sacrifice in the face of overwhelming odds. And if
you loved the mano-a-mano duel between Ripley and the Alien Queen, something so iconic it's now become the material
for tv commercials, then Cameron has something in store just for you at the end of Avatar.
Sam Worthington (Terminator: Salvation) is perfectly good as Jake, though I found him more interesting as a
Na'vi simulacrum than a real human being. Jake is a wounded creature, and we see him early in his low-tech wheelchair,
trying not to get run over by Marine transports and gigantic powersuits straight out of Starship Troopers. When
he gets his legs back courtesy of the avatar technology, he literally runs out of the laboratory and into a new world
of freedom. He has been told previously that Pandora is a hell, but his character arc exists to show that it's really
an Eden -- for the people who can appreciate it without destroying it. Worthington seems to wake up, literally and
symbolically, as a Na'vi.
You've no doubt heard that the film was shot in 3-D. My relationship to this part of the new technology is
ambivalent. I found the glasses (kind of like plastic sunglasses) to be uncomfortable, and the images tended to fade
into insubstantial shadows the closer they got to the edge of the screen; you'll notice it when the camera dives through
the Pandoran underbrush, or careens around a floating mountain. But when the effect worked, the detail and colors
were good, and the depth of vision seemed to stretch on for miles. It's also mostly free of those moments in
other 3-D films when the screen tries to "throw" something at you to make you appreciate the effect; instead, it's
an immersive and persuasive use of the technology that draws you into the world it presents. If you choose to see
it in 3-D (or RealD, as the company calls it), I can't imagine you'll be too disappointed. But I'm not ready to
call it the future of cinema.
By the way, "seeing" is what Avatar is all about. A world with this much detail and complexity is often
attempted on film, but rarely achieved. At night, the beautiful Pandoran rain forest has the bioluminescent glow of
a deep ocean environment, and is populated with so many plants and critters that you won't notice them all in
one sitting. Cameron has created his world around the Gaia hypothesis, the idea that the whole planet is a living
entity, except in Pandora's case the creatures can actually plug into the planet via neural links in their hair or
extremities and share information. It's one of those "big ideas" that space opera likes to play with, but Cameron
keeps it on an appreciable scale in Avatar, which is to say that he takes it only so far. He's more
interested in the metaphors he can find, like the native life being "avatars" for the planet itself, or the way
humans use their technology to disentangle themselves from the morally dirty work of colonization. This idea
of "seeing" something to its essence is very important to the Na'vi and their creator, but don't think that
Cameron is trying to beat you over the head with a moral; he's here to primarily move you and entertain you.
Of course, there are flaws. I could point out that, at two hours and forty minutes, it's a little long for
the story it tells, or that Neytiri has a change of heart in one scene that I found a little hard to
buy. I could tell you that Michelle Rodriquez is a crowd favorite as Chacon (she's the Vasquez of Avatar),
but is sadly underutilized. Flaws like these are real but minor, and the movie isn't ruined by them, so
let's not be jerks about it, shall we? The film has too many virtues to ignore. It's the new state of the
art in filmed science fiction, and even more impressive -- it's the return of awe.
David Newbert worked for public and university libraries for several years while studying film and literature, then joined the college book trade. He grew up on the East Coast, though he currently lives in New Mexico, where the aliens landed. |
If you find any errors, typos or other stuff worth mentioning,
please send it to editor@sfsite.com.
Copyright © 1996-2014 SF Site All Rights Reserved Worldwide