Subject: Review: Gattaca (1997)

From: Steve Rhodes <[email-masked]>
Date: 24 Oct 1997 17:11:16 GMT

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                               GATTACA
                     A film review by Steve Rhodes
                      Copyright 1997 Steve Rhodes

RATING (0 TO ****):  *** 1/2

     Has that body of yours not lived up to your expectations?  Has it
not proved suitably adroit?  And has your mind been all too fallible?

     Well, if you lived in "the not too distant future" as Vincent
does, then you could blame your defects on your parent's choice.
Unless they recklessly conceived you in a "natural" or "faith" birth,
you were genetically engineered in a petri dish, and your parents got
to choose all of your characteristics from the best of their genes.
All they needed to do was make their desires known to the genetic
counselor and science took over from there.

     Although this may sound like Aldous Huxley's "Brave New World,"
the mesmerizing new thriller GATTACA by writer and director Andrew
Niccol has closer genetic kinship with CONTACT for its love of science
and its mystical aura of an unknown future.  Whereas CONTACT was laden
with pretension, GATTACA, in contrast, takes a more lyrical than
literal approach.  Both share a surprising tranquillity even when their
characters are being overwhelmed by the situation at hand.

     The movie GATTACA comes with its own fail-safe system.  Even if
you hate the story -- highly unlikely -- the production will dazzle you
with its striking beauty.  Unless all Hollywood misses seeing the film,
there will undoubtedly be a host of Academy Award nominations for the
film's artistic achievements.

     The sets by Jan Roelfs (LITTLE WOMEN) are breathtaking.  From the
futuristic treadmills to the desks surrounded by short cylindrical
cubicles to the sleekly cold and starkly massive buildings, every set
is a treat for the eyes.  Slavomir Idziak's bronze-hued cinematography
and the dreamy music by Michael Nyman (THE PIANO) give a peaceful edge
to an intense story.  The GQ uniform-like attire by Colleen Atwood
(LITTLE WOMEN) reminds one of the lemmings-like schoolroom scene from
PINK FLOYD - THE WALL.  Even the film's hair stylist, Bette Iverson,
deserves special mention for the high greasy sheen look.  The net
result of this creative team is to transport you to the future without
heavy reliance on science fiction gadgets or fancy special effects.

     "They used to say that 'a child conceived in love is a child of
happiness,'" complains Vincent, the film's protagonist.  "They don't
say that any more."  Vincent, played with suitably cold precision but
an undeniable inner charm by Ethan Hawke, has been branded for life by
his parent's indiscretion.  He was born because of an assignation in
the backseat of a car rather than the proper mixing in a test tube.
When the machine at his birth pronounced that his heart had a
ninety-nine in a hundred chance of failure by age thirty, his parents
decided not to gamble again.  They paid the money necessary to ensure
that Vincent's brother Anton (Loren Dean) would have a scientific
birth.

     The future belongs to the genetic upper class.  "We now have
discrimination down to a science," complains the genetically challenged
Vincent.  Jobs go to the perfect, and constant urine and blood tests
ensure that none of the riffraff sneaks in.

     Vincent has a single desire in life, to become an astronaut.
Although the best he can do is secure a position as a night-time
janitor in the space agency, Vincent has a plan, and what a plan, to
break into the elite corps.

     Vincent procures the aid of a DNA broker (Tony Shalhoub) to fake
an identity.  Using the DNA from a donor named Jerome (Jude Law), the
broker tells Vincent, "you could go anywhere with this guy's helix
tucked under your arm."  And he does.  With an interview that consists
of nothing more than a blood test, Vincent, hence forward known as
Jerome, starts work as an astronaut.  The riveting story devotes more
time to the minutia of the ways the two Jeromes contrive to fool the
agency than to the fake Jerome's romantic attachment to fellow agency
scientist Irene Cassini (Uma Thurman).

     All of the acting is exceptional with Ethan Hawke, especially in
his voice-over, being the best.  In a richly textured show, many minor
characters stand out.  Alan Arkin and Loren Dean, for example, are
marvelous as a detective and his investigator who look into the
mysterious death of the director of the space agency.  The film has
enough material for a much longer film, but editor Lisa Zeno Churgin
manages somehow to trim it down to normal length with the result that
every minute is captivating.

     In a film with so many high points it becomes difficult to
highlight a few.  One has to be the chemistry between the real Jerome
and his genetic fake.  "I got the better end of the deal," reflects the
genetic donor to his donee.  "I only lent you my body, but you lent me
your dreams."  Even the small aspects such as the frequent rockets
blazing off to the far planets give the show a serenity that has to be
seen to be properly appreciated.  My personal favorite: the way one
character deduces that the space agency's astronaut is the ersatz
Jerome.  GATTACA is the rare show that far surpasses its already
promising trailers.

     GATTACA runs a fast 1:52.  It is rated PG-13 for a scene of a dead
body and for mature themes.  Although the film would be acceptable for
kids nine and up, they probably need to be teenagers to be interested.