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Here’s the spicy thing about Richard Linklater’s « A Scanner Darkly »: for a film about heavy drug consume situation in the not too distant future, it’s probably one of the most objective and complex anti-drug stories ever told. I say this in spite of the fact that I found the specifics of the set incredibly difficult to lift. All I could comprehend were the general bits of information, most of which were gathered from trailers and commercials. Apparently, a fictional drug called Substance D rules the streets of Orange County, California. It’s a highly addictive, brain-frying narcotic that has a long list of negative side effects. It’s also an illegal substance, one that undercover cop Bob Arctor (Keanu Reeves) has gotten quite familiar with in his attempt to locate its main distributor. Upon infiltrating the home of a group of pill popping slackers, he starts using in order to blend in. Unfortunately, this drugged lifestyle eventually leaves him unable to distinguish reality from hallucinations.
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Through the cinematic process of rotoscoping, Linklater has enabled the audience to feel the actual same arrangement as Arctor does. Each frame of film was traced over and stylistically repainted, making the world the characters live in–as well as the characters themselves–look half like a cartoon and half like the physical realm. It was an absolutely improbable study, and I found that it gave the legend an added dimension by representing a kind of realistic unreality (if that makes any sense at all) . In that sense, it’s almost symbolic that the undercover cops wear coast suits, which are high tech cloaks with anatomical images that continuously shift from one to the next (apparently, a single suit can project millions of appearances) . The status of the world these characters live in is ruled by uncertainty and deception. Arctor is ultimately tested, not only in terms of what he believes to be the truth, but in terms of his site of mind, as well.
I now understand why that rotoscoping process was conventional for an adaptation of a Philip K. Dick fresh. Only he could have written about the life-destroying effects of an addictive substance. Likewise, only this kind of film can do justice to the point he was trying to accomplish, namely that you can’t trust anyone, especially when you’re addicted to a grand drug. Unfortunately, elaborating on that point would give too remarkable away; I will say that all in this movie isn’t exactly as it seems, and more than a couple of characters have hidden agendas. There are a number of truths hidden amongst the film’s eccentric style, and by the time you obtain halfway through, you’re completely lost.
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However, this is the kind of movie you don’t mind getting lost in, even if you have no concept what’s going on. I have to admit that while I understood the underlying message of the fable, I barely understood this film as a whole. Watching the sequences unfold and listening to the characters interact is almost as brain scrambling as the rotten Substance D is. This is especially correct of the conversations between James Barris (Robert Downey, Jr.), Ernie Luckman (Woody Harrelson), and Charles Freck (Rory Cochrane), three of Arctor’s equally spaced out friends. Their esoteric banter flows seamlessly from topic to topic in an Altered Consciousness sort of device, filled with anti-establishment ramblings that almost arrive off as poetic. It even gets amusing at times; during a road traipse to San Diego, Barris claims he left the front door of their house unlocked and attached a tag for burglars to read (which, supposedly, was all allotment of an explain way to relate the intruder and solve the mystery slow the Substance D ring) .
There are some gripping moments shared between Arctor and his girlfriend, Donna Hawthorne (Winona Ryder) . Their relationship revolves around their mutual abuse of Substance D, which doesn’t exactly enhance their moments together so remarkable as it leaves them in a perpetually dazed place of awareness. Their conversations are almost as esoteric as those of Barris, Luckman, and Freck, the only contrast being a puny degree of intimate, meaningful language. One also gets the sense that Arctor is trying to understand Donna as a person, specifically why she’s behaving in definite ways. He knows how devastating the effects of Substance D can be, and he fears that maybe she’s going too far with her usage. The two demonstrate apt distress for one another, even when they gather themselves lost in a conversation about drooping, floating cats.
Despite the free flowing course the epic takes, everything does advance together by the kill. « A Scanner Darkly » is one of those movies that can cleverly mask slack a hallucinogenic facade in order to grunt a serious message. If you’re considering seeing this movie, you have to be willing to derive jerked around somewhat, especially when it comes to your expectations for solid characterizations and straightforward storytelling. I consider I knew all along that I’d accept this film confusing; the ads made it perfectly definite that this was a very unconventional project. But in the raze, I didn’t really mind; the epic takes on the beget of a seriously warped puzzle, and I welcomed the opportunity to assign the pieces together and figure things out for myself.
Let me waste by quoting the tagline from Jim Henson’s « Labyrinth »: « A world where everything seems possible, and nothing is as it seems. » I gather this to be a fitting map to report the world of « A Scanner Darkly. » If you peer it with that quote in mind, you honest might approach away with a better notion of it.
This is a movie you definitely want on DVD – because you’ll want to gawk it first with unprejudiced the movie playing, and then after that with the audio soundtrack that includes director Richard Linklater, actor Keanu Reeves and most importantly the daughter of Philip K Dick. The insights that she provides into the movie and the storyline are priceless.
It’s necessary to realize that Philip K Dick usually wrote about characters, not action sequences – and specifically, he wrote about those in society who did not « fit in » well. If you perceive through his stories, you’ll score they often feature people who are misfits, who society overlooks or forgets. In A Scanner Darkly, the featured ‘oddballs’ are druggies bent on Substance D – a drug that is never really described, but apparently causes paranoia and hallucinations.
The key here is to sit down with a glass of wine, a astronomical bowl of popcorn and decide abet for a character-driven anecdote. This isn’t a Rambo or Dirty Dozen narrative – it’s about how people characterize to each other, in many subtle ways. It’s a notice of interactions.
I really indulge in that this was done in a combination of dependable life acting and animation. It floors me that in unusual times anyone might recognize down on this because it is a « cartoon ». Is a Renoir less satisfactory than an Ansel Adams because a Renoir was done by hand? Animation isn’t inherently kiddie. Hand drawn works can gain quite worn topics. In this case it is *ideally* sterling to the record – because a main aspect of the narrative is that the characters never quite know what is valid and what is imagination. Are the bugs really there? Can he trust what he sees? All signs point to NO. The viewer is caught up in this same confused world. If this had been live action, then ‘odd things’ would have instantly stood out. But the point of a drug haze is that everything seems ‘unreal’ – and so unfamiliar things fit into that lumber noteworthy more smoothly.
If you don’t know druggies, rest assured that characters like this are quite average – and this fable is in essence an autobiography of Philip K Dick’s life in the 70s. He lived in a house unbiased like this with his two brothers after his divorce. He lost his wife and two young girls. He was very paranoid that one of his house-mates was a narc, spying on their druggie activities. One of his friends did judge bugs were crawling on him. At the kill of the movie is Dick’s real ending to the yarn – a list of his friends who were damaged or slain by drugs. Included on this list are his ex-wife and himself.
So what you have in the movie are the druggies at turns being nice to each other, being very cruel to each other, mistrusting each other, and turning to each other for attend. One of the druggies – Bob – is actually a narc cop code-named Fred. He’s gone undercover to figure out who is supplying Substance D to the spot. Unfortunately, he’s gotten himself twisted during his undercover work. Even worse, portion of what Substance D does is to slay your brain – so he’s developed in essence split personalities. The Bob-Druggie section forgets most of the time he IS a narc. The narc half of him, when he’s in the police position, knows he’s spying on this group of druggies but forgets that he is one of them. So when the narc is told to specifically see on « Bob », he literally doesn’t realize that this is him.
Here’s where the movie – trying to stuff a dense book into under 2 hours – has some problems. If you haven’t read the book, it’s not definite at all that Narc-Fred forgets who he is when he goes undercover as Bob. It’s a mountainous twist in the book, but in the movie it seems obvious to the watcher that it’s the same person, and it’s not made certain in the tale that he’s forgetting his « other half ».
Other than that, the account is really aesthetic straightforward, plot-wise. The druggies are paranoid about the world around them and trudge on with their lives. The cops are trying to figure out who the supplier is, so they bug the house and try to collect that information. Like most Dick stories, there’s a twist, although to be impartial I view it would be a great larger twist. Also, like most Dick stories, there’s minute female presence and the ending is only slightly hopeful. These aren’t happy-go-lucky romances that he writes – they are murky warnings about where society is heading when it marginalizes those who don’t fit in perfectly.
If you’re confused about the movie, I definitely recommend reading the fresh. That might be easier to hold and give you more insight into the characters. Then go help and eye the movie again – taking it expressionless. Pay attention to the nuances of what they say, and how the characters characterize. Explore how they feel society is treating them – and then seize a search for what society actually does with these people. Maybe they aren’t quite so paranoid after all – maybe there is some resaon for how they feel.
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