Jason Perez
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21 Grams
Studio: Universal
Year: 2003
Rated: R
Film Length: 125 minutes
Aspect Ratio: Anamorphic Widescreen (1.85:1)
Captions: English
Subtitles: Spanish, and French
Audio: English – DTS 5.1 and Dolby Digital 5.1; French – Dolby Digital 5.1
Release Date:
March 16th, 2004
In any discussion about the most interesting and innovative directors working today, Alejandro González Iñárritu should at least be mentioned, and I think his latest film, the volatile 21 Grams, will help see to it that he is. In my honest opinion, not only was 21 Grams - a free-flowing tale of how one tragic event tears apart the lives of three strangers – one of last year's most compelling and satisfying films, but it was also one the most effectively structured. Apart from general descriptions, however, it is difficult to summarize the plot without revealing details best left secret, so please excuse me if I keep things a little vague.
Although many films have veered away from the traditional chronological storytelling format over the years, very few have employed the approach so successfully, especially in recent years (though a notable exception is Memento). Personally, even when it doesn’t work, I like this unconventional storytelling method, since it challenges the viewer to pay closer attention to what is transpiring on-screen. Indeed, in that regard, 21 Grams borders on being an interactive experience for the viewer.
In terms of characters, we know that the film involves the effect of a particular event on three people, so let’s take a brief look at them. One third of the trio of leads is Paul Rivers (Sean Penn), a mathematician who is battling a very serious heart condition. As the character is introduced, we see that the relationship between he and his wife Mary (Charlotte Gainsbourg) is almost as terminal as he is, but she refuses to end their marriage with Paul in such poor physical condition. Instead, she decides to have his child, which he will not live long enough to see (and doesn’t seem too thrilled about), via artificial insemination.
The second of the three main characters, named Jack Jordan (Benicio Del Toro), is a former criminal who has since reformed himself and become a devout Christian. Despite holding fast to his religious beliefs, however, glimpses of Jack’s fiery temperament can be seen, especially during a couple of sequences when he is at home with his family.
The final member of the trio is Christine Peck (Naomi Watts), a happily married woman raising two lovely girls with her husband. Though Christine’s former troubled existence, and drug use, is alluded to, the daily routine of married life seems to have provided her with serenity and comfort.
Getting back to the manner in which the story is told, I cannot overstate how well Iñárritu’s trademarked non-linear storytelling method works in this film. By piecing selected events in the three main character’s lives together in this manner, this story grabs viewers’ attention from the opening scene and never lets go. Indeed, 21 Grams is almost like a mosaic of scenes that switches between time periods, and characters’ perspectives, with frequency. Initially, this approach may be confusing, but it slowly becomes apparent that Mr. Iñárritu is using this unconventional method to converge the characters’ past, present, and future around the single moment in time that binds them.
Given that the story jumps around so much, I think editing is key, and 21 Grams is stitched together brilliantly. Iñárritu gives us only what is necessary, in terms of what the characters have experienced, and where they are headed emotionally, to propel the story forward. As such, almost every minute of this film is equally riveting. More importantly, although the viewer is taken through different times in each characters life, these fragmented timelines are woven together slowly enough to reveal how the characters' worlds are brought together without causing confusion.
Shifting gears, as brilliant as the writing and direction are in 21 Grams, each of the three actors playing a main character turns in an absolutely mesmerizing performance. For example, although Sean Penn received an Oscar®, for his magnificent work in Mystic River, it is hard to argue that he is not as good or better in this film. Penn’s performance is definitely subtler as Paul Rivers, but this is understandable as the character is a sick man faced with his own mortality, and dealing with the fact that he only lives because someone else has died.
Paul fights similar moral battles to those facing Penn's character in Mystic River, but the differences lie in the way these characters are developed by each director.
Rising star Naomi Watts, tabbed to star in Peter Jackson’s remake of King Kong, also turns in what is easily her most substantial and significant performance to date. To her credit, she gives this demanding and somewhat non-glamorous role, which is chock full of emotionally wrenching situations, her all. Indeed, her performance is so realistic, and so seamless that it really helps project the Christina’s every emotion.
Rounding out the cast of principal characters is Academy Award® winner Benicio Del Toro, whose acting chops are no less impressive than those of Ms. Watts or Mr. Penn, even though his character is probably the least varied. Nevertheless, Jack is a man who has turned himself away from a life of crime through faith, and Del Toro's portrayal of this is extremely sincere. I thought the manner in which he calls his faith into question once tragedy strikes was equally convincing.
As if the solid direction, memorable performances, and masterful editing were not enough, the deliberate style of 21 Grams adds yet another dimension to this outstanding film. Shot in a dark and gritty fashion, with a subdued color palette, and featuring a very sparse score, Inárritu uses the elements of sight and sound carefully, to create an appropriately somber tone. Thus, in some respects, this film is stylistically similar to Iñárritu's Amores Perros, which also treats with the darker side of human nature and unfolds in a non-chronological fashion. Unlike Amores Perros, however, 21 Grams is a more optimistic story, in spite of its tragedies, because the characters are more “real”, and thus easier to sympathize with. Of course, they are not people without flaws, but their situations could just as easily be our own, so we can identify with them, and perhaps even feel empathy for them.
To sum things up, aside from its somewhat unsatisfying narrative ending, 21 Grams is a great film on every level. In particular, the acting in this film left me completely floored, as these three bona-fide movie stars completely receded into their respective “average person” characters. Add to that Alejandro González Iñárritu’s intriguing storytelling method, appropriate stylistic choices, and a solidly written script, and you have all the ingredients for a very special film.
In fact, other than the ending, the only thing I did not like about the movie is its title, which for some reason brought images of B-movies about martial artist cops busting up drug rings to mind. Anyway, since it is not up to me to come up with a better title
, let me close by saying that title notwithstanding, 21 Grams was among the most moving and wonderful movie-going experiences I had outside of The Return of the King in 2003, so I whole-heartedly recommend it. So, How Does It Look?
Presented by Universal in anamorphic widescreen (1.85:1), 21 Grams, retains its dark, gritty look on DVD. With a few exceptions, the image is quite detailed, despite the fair amount of grain present. Additionally, as in the theater, colors are slightly de-saturated, and blacks are deep and fairly well defined, so shadow detail is better than average. Better still, I did not notice the application of edge enhancement, which is always a good thing.
Another positive is that the print used for this transfer appeared to be free of any specks or debris. Honestly, 21 Grams looked (to my eyes) a lot like it did in the cinema on my RPTV. Perhaps a better way of putting it is that even though they may not be pretty at times, the images on this DVD stay true to the look desired by Alejandro Iñárritu, and this is just as it should be.
What Is That Noise?
21 Grams is offered in both Dolby Digital and DTS 5.1 channel surround sound (English), and given the atmospheric, subdued nature of the source material, you will probably not be surprised when I tell you that either choice is a good one. As usual (when it is available), I selected DTS for this review, but in switching between the two, I noticed only moderately better imaging and slightly more natural vocal timbres from the DTS track.
Getting down to brass tacks, most of the audio information in this film is presented via the front and center channels, and this presentation is handled quite well, overall. Specifically, dialogue sounds just as it should – warm, natural, and hiss-free. The eerie score also comes across fine, as do micro-dynamic audio details, thanks to a smooth frequency response and appropriately moody soundstage.
As I inferred above, the rear channels do not play a very active role in this film, but do provide some subtle ambience on occasion. Similarly, the .1 channel does not come into play very often, but bass response is tight and punchy in the very few instances that call for it. All in all, I suppose this is not among the most dynamic tracks you will hear, but the source material is handled adeptly, and in the end that is what matters.
NOTE: A French 5.1 track is also included.
Extras, Extras!!!
There are no extras included, not even the trailer! Extras for Timecop 2: The Berlin Decision and Tremors 4, but nothing for 21 Grams??? What gives?!?!? Shame on you Universal!
The Score Card
Movie: :star: :star: :star: :star: 1/2
Video: :star: :star: :star: :star:
Audio: :star: :star: :star: 1/2
Extras:
Overall: :star: :star: :star: :star:
The Last Word
In my opinion, very few films released last year were as fascinating or memorable as 21 Grams. Magnificently acted and directed, as well as intellectually challenging, it is that scarce cinematic experience that stays on your mind long after it has ended, potentially giving rise to some powerful and thoughtful discussions. Moreover, this film rewards repeat viewings, and to fully appreciate its complexity you will probably have to watch it a few times. In my case, I watched it twice for this review even though I had seen it before, and not only was I happy to do so, but I am sure I will revisit it again soon to gain an even fuller appreciation of the performances by the Del Toro, Penn, and Watts.
On the other hand, despite the complete lack of extras, the overall presentation is good. I am at peace with the fact that 21 Grams is not a stunning film from a technical standpoint, because its visuals and sound are geared more towards serving the story than impressing the viewer. Still, the soundtrack was reproduced in an effective manner, and the inclusion of DTS is a plus. I also found image quality to be more than satisfying. The only real disappointment is the complete lack of extras
, which is a shame considering that the film has been so well received. All things considered though, I suppose 21 Grams is a good enough film to warrant purchasing this DVD anyway, so although I cannot give it my highest recommendation, I suggest picking it up. That way, at least you can enjoy this film until the “Special”, “Collector’s”, or “Ultimate” edition is announced, at which point you can always sell off this one and make the cost of double-dipping less painful!
Recommended!!!Stay tuned…
