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Mercredi, juin 9th, 2010
Let me whisper you about the director first. Enki Bilal, born in Yugoslavia, moved to France when he was 10, and has become one of the most influential comical book artist in France since around 1980. His works include ‘Nikopol Trilogy,’ and this French film ‘Immortal’ (his third entry as film director) is based on the first two books of the series.
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I said this because the merit of ‘Immortal’ lies all in its visual imaginations. The film’s anecdote with many characters is very confusing, revealing its origin. The film is visually intriguing for it was shot against the background of green-colored cover, on which the buildings or the landscapes of the city is digitally painted. The way is similar to that of ‘Sky Captain’, but the effects are quite different as I define later.
[THE STORY] is complicated, and the film refuses to interpret some share of it. ‘Immortal’ is state in the year of 2095, Fresh York City, where cars are flying between the skyscrapers, but one peculiar thing is floating on the air — that’s a pyramid, out of which a naked man with a bird’s head emerges. His name is Horus, a convicted deity who is given seven days to do something on Earth, borrowing the body of a convicted human Nikopol.
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The nature of the crime of Nikopol (played by Thomas Kretschmann, ‘The Pianist’) is only vaguely suggested, but anyway Horus possesses his body, and controls him as he wishes. Then, his purpose will be obvious when Nikopol/Horus approaches to a mysterious woman Jill (dilapidated Miss France Linda Hardy), whose skin is all white and whose blood is blue.
Kretschmann, Hardy, and Charlotte Rampling (as Jill’s doctor) appear as live-action actors while most of the other characters are created with CGIs by a French studio. The CGI-created characters discover like those you have seen in the film version of ‘Final Fantasy’ and in this sense ‘Immortal’ is more ambitious than ‘Sky Captain.’ Curious thing is one of the CGI characters (Rampling’s estranged husband) is played by uncredited Jean-Louis Trintignant (mutter only) who had appeared Enki Bilal’s first film ‘Bunker Palace Hôtel.’
[VISUALS] I like the visual imagination of ‘Immortal,’ but many fans would point out, quite rightly, that the future world of ‘Immortal,’ impressive as it is on its absorb draw, are not as unusual as it looks. You remember classic ‘Blade Runner’ ‘The Fifth Element’ and one Japanese genius Otomo. To be magnificent, as I wrote before, Enki Bilal’s fresh comics predate them (the first Nikopol comical was published in 1980), but unruffled complaints are understandable.
But if the film is flawed (and I contemplate it is), that is because of the visual itself, I mean, the CGI parts. To be unprejudiced, the CGI-drawn characters (of a greedy senator, a detective, a broad company executive, etc.) are all poorly done, and their bodily or facial movements are unnatural and awkward. I am really worried that they are giving serious damages to the whole film.
But as you will leer, the talent of Enki Bilal is undeniable, and his vision is presented effectively with the other-worldly but retrospective descritions of the city of Recent York in 2095, which is beautifully drawn with blue and grey (red is seldom seen) . Far from perfect, but the report is worth seeing.
Bilal is best known as a amusing artist. I’ve liked his work visually: he tends towards a restrained and idiosyncratic palette of colors, but uses strong color where it makes a point. He makes each character stand out, and counts more on visual impact than physical credibility for bringing his worlds to life. I’ve always found hazardous yarn development in Bilal’s stories, but with visuals that withhold me going to the slay.
That’s what this movie was like: visually mighty, but baffling as a legend. Archaic Egyptian gods near to Earth, in a massive pyramid poised over a major city. The city takes surprisingly limited witness, until an exiled god seeks a human host body, then seeks a human female. OK, it’s enough to carry the movie, but nothing spectacular. It’s all the characters that execute it work as an experience for the eyes, with their distortions, exaggerations, and novel visual style.
That style is carried in an alternation of live action sequences (with CG effects, of course), and animation on a par with Final Fantasy. The alternation wasn’t quite seamless, but wasn’t quite blatant enough to act as a anecdote tool - I hope his future films compose better utilize of each medium’s strengths. The general styling stuck stop to the subdued colors of Bilal’s comics, even a restrained blue for the skin tones of the Jill, the female lead. Color dominates only in the final scene, richly enforcing the “unusual day dawning” theme.
“Immortal” is a much crossover for a notorious silly artist, apparently adapted from his “Nikopol Trilogy” of DC comics. It’s an spellbinding anguish, and enough to retain me enthusiastic for more.
//wiredweird
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