The Book Catapult

Children of Men

I know that this is a mouthful, but I don’t think I have ever been as affected by a film as I was by Children of Men. Towards the end of the film, as Theo clings desperately to the slight possibility of a future for humanity, as that fragile hope begins to slip through your fingers, ever so slightly, I found tears running down my face.

The general premise of the film is this: it is the year 2027 and humanity has been infertile for the last 19 years. The youngest person on the planet, Baby Diego, has just died at age 18. Britain is walled off from the outside world of chaos, war, and death and spends time deporting and torturing refugees. In the face of such despair, the government has issued suicide packets to all its citizens. No one has heard a child’s laugh in almost two decades.

In a lot of ways this all reminded me of Cormac McCarthy’s The Road, in which humanity has experienced a decade of devastation and earth-altering events before you, the viewer/reader, came along – a fact that every character is very much aware of – so why would anyone narrate to you what has happened? That would be ridiculous & contrived, no? In Children, you are left to piece things together for yourself* – London looks like a dirtier, slightly more technologically adept version of its 2006 self. Yes, in 20 years, flatter screen TV’s have been invented, but there are no flying cars, no humanoid robots – life goes on as people get older and humanity dies out…or so it seems for the first 3 minutes of the film. Things are not so simple, of course. (*A point that some viewers have apparently had a hard time with. People prefer to be spoon-fed a storyline with a nice, neat setup, so they can sit comfortably in their theatre seats and watch the “feel good” movie of the year. Wake the fuck up, people.)

Gradually, you begin to see the hopelessness and despair that people are experiencing and the terrifying degree of insanity that humanity has slipped into. Theo (an excellent Clive Owen) blithely orders coffee in a cafe in the opening sequence – going about his daily business, without affect – as the people around him react to the death of the world’s youngest human. Theo seems to have stopped caring about such things – after 20 years of this, would such events really have any meaning for us anymore? Theo has severe ennui – with good reason – and cannot feel affected by the events of the world anymore. He drinks and smokes constantly as a method of numbing himself to his surroundings. It isn’t until he is tasked with helping Kee, the world’s first pregnant woman in 20 years, that his utter despair falls away and he has a reason to keep moving his feet.

As the film progresses, the camera gradually moves closer to its subjects, and you become more emotionally attached to the events unfolding around you. The refugee camp is particularly real – of course, it looks a bit like Abu-Ghraib, and this is the point – look what we are headed for, people – but it genuinely scared me: the frailty of freedom in light of all that’s happening in the world. One minute Miriam, the midwife, is free and working to get Kee safe, the next she’s having a hood pulled over her head and….who the hell knows.

This tension and fear builds and builds and builds – the fragility of human societal existence is exposed. For me, the emotional tide truly turned in the scene where Theo & his companions stop to meet Syd, a soldier helping them achieve their task, in an abandoned school near a refugee camp. It took me a minute for that information to process – the abandoned school. Why would anyone need an elementary school if no kids had been born in almost 20 years?

When the Fishes (a group of misguided freedom fighters) manage to steal Kee and the baby away from Theo – despair & desperation take hold of the viewer a bit. The intensity of the importance of getting them safe…. Theo runs through fucking WAR to get into that goddamn building where Kee & her child are! A horrifying display – at this point, the camera is right on top of Theo – you can feel every concussion from every explosion and every dull thud of bullets hitting concrete next to your head. The suffering inside that building really hits home – these are not refugees or animals, they are human beings being killed for absolutely no fucking reason. Not because they are different or from some foreign country, but because that’s all anyone can manage to do in the face of such degradation of societal boundaries.

And then the baby starts to cry. As Theo leads mother and child out of the building, the world screeches to a halt. This is the point where I inadvertently started to weep. The looks on the faces of all those people – despair, devastation & fear melting into hope and awe at seeing the tiny foot of a child sticking out through a grimy blanket. No one has seen a baby in 20 years….

Anyway, this is just my take, obviously – everyone reacts differently to storytelling. And not everyone will be as affected by this as I was. Of course, it does have some brighter spots: Michael Caine is absolutely magnificent as Jasper, an old activist friend of Theo’s. He lives holed up in the woods with his ailing wife, smoking homegrown weed and listening to awful hiphop and Beatles cover songs. But some of the most poignant scenes are lead by Jasper, and Caine deserves, at the very least, an Oscar nomination, if not the nod. I also thought it particularly poignant that Theo never raises his hand in violence – at least until his drive to save Kee grabs hold. And even then, his violence is reactionary, unlike what is happening all around him. Owen delivers this perfectly – his oppressed sadness is palpable – and his eventual hope for the world is contagious, to say the least. A masterful work from start to finish and, while I, of course, haven’t seen every film rumored for Oscar this year, this is definitely the best one I have seen with my own eyes.

By the way, it was a book first. Buy it at your local independent.

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One comment on “Children of Men

  1. Ted Burke
    January 15, 2007

    Great review,Mr.Marko, and I agree with you wholeheartedly. What works for me is that the film has a great look–no one has gotten the look of a corroded dystopic future this well since <>Blade Runner<> (though one ought not overwork the comparison)– and that it rapidly establishes its premises without the expected tub thumping or background information that just makes most of these futuristic parables more burden than boon. It is, shall we say, stylishly efficient , and concentrates on the emotional journey rather than the politics.
    Rather smart for the film makers to remember that movies need to <>move, eh? Children of Men is about the best film I’ve seen this year, after The Departed and <>Casino Royal. Rock on.

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This entry was posted on January 14, 2007 by in http://schemas.google.com/blogger/2008/kind#post, review.

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