Christopher Nolan’s “Interstellar”

Interstellar 01

Just like in the last Batman movie, for one moment you can see someone actually interested in cinema, almost surrendering to the instinct of making an honest B-movie. Halfway through, despite the irregularity, I believed it would at last abandon Nolan’s most annoying traits and then could end up being just a good, straightforward sci-fi blockbuster, indebted to a dozen other vastly superior works, but still… No. Nolan finally recalls that what he sells is horrible talking and then makes the audience swallow more than one hour of pure excess to allegedly theorize something, with entire sections devoted to ridiculous discussions about stuff he manages to resolve, a few times, in simple gestures (i.e. the whole dialogue sequence with the daughter before McConaughey leaves, the words, for once, don’t dictate what the scene says), and these little valuable things get completely trivialized in the final minutes, with unbearable repetition of what was just obvious.

The problem with Nolan is that in his work there’s no room left for such details. He is the most Screenwriting Guide director alive, all the universe must return to what was already shown, even to what has already been concluded, a conversation can not exist to show a man because what really matters is the great concept revealed through the dialogue in a big chain of scenes that matter, exclaiming their great significance, independent of any subtlety, of any life existing beyond the general scheme, and that is the real problem with pure and brazen exposition, it is not just about people talking like robots, they also act like gears, and their function is solely to emphasize the brilliance of the movie’s own mechanics – and that is specially strange if your movie is so full of debates about abstract concepts and is supposed to reach for the unknown. He seriously needs to go to the fifth dimension (or something) to tell us that the dialogue in the daughter’s room meant anything, when that scene alone would make a much better film than Interstellar is as a whole.

In a nutshell: A father/daughter relationship, the psychological effects of time travel, at least the spectacle of discovering new worlds? Fuck that, let’s see inocuous cross-cutting between the completely gratuitous characters of Matt Damon and Casey Affleck in some sort of self-parody of the “important” “moral discussions” of The Dark Knight, no one will take them seriously alone so just randomly put them side by side because that will certainly make a profound statement about humanity. Add to that some horrendous noise by Hans Zimmer (with, of course, Strauss quotes that mean about as much as the writers quoting Nietzsche) and everything will turn out well.

A director who hated this script could get much better results, in the end I just wondered what kind of movie would Spielberg deliver… Then I remembered After Earth (by his more talented disciple), taken as last year’s worst movie by a good number of critics (the same ones who hailed Interstellar as a masterpiece), well, that is the movie Nolan would make if he was more a filmmaker and less an advertiser. Already forgotten.

Christofer Pallú


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