Gattaca is a dividing movie that people either love or have selectively forgotten. Director Andrew Niccol, who, if I may digress, also directed Nick Cage’s best film, Lord of War, paints an incredible portrait with Gattaca‘s stylised near-future First World. Where Sky Captain and the World Of Tomorrow failed to integrate a post-WWII fashion sense, Gattaca brings it with architecturally stunning shots populated by beautiful people in perfectly tailored, vintage-future clothing.
The main story line is carried by Vincent (Ethan Hawke) who was born as an in-valid, or person of lesser genes. Vincent dreams of flying in space, and so gains access to the Gattaca Aerospace Corporation by pretending to be the genetically perfect, but now paralysed, Jerome (Jude Law). There is much male hair-brushing, nude body-scrubbing and urine-collecting as Jerome and Vincent successfully swap identities by duping Gattaca’s genetic-scanning system.
Perhaps the most overdone moment in this film is a flashback to Vincent’s childhood as he competes against his younger brother in an impossible swimming challenge. Under grey skies, an orchestra of ever-swelling strings accompanies the boys as they struggle against choppy water. The sequence beats us over the head, illustrating the fragility of human life but serves a necessary purpose in revealing the protagonist’s overall dedication and perseverance.
Nothing says 90’s blockbuster like Uma Thurman, Ethan Hawke, and, introducing Jude Law. Gattaca was culturally topical, too. The eugenics-obsessed Western World was primed for this film, it being released a year after IRL scientists in Scotland introduced the world to Dolly the Sheep, the first successfully cloned mammal. Trust me, in 1996 that was a really, really big deal.
Gattaca‘s brand of speculative fiction schlock is right up my alley. Overwrought and extreme genetic tinkering, Big Brother scanning our DNA, with a duplicitous murder mystery plotline thrown in for good measure. Science fiction liberates storytelling by providing a brutal mirror to shine against our modern society. For similar reasons, Gattaca was nearly demoted to “Natalia’s Second Favourite Film” by the much grittier Children Of Men. But this was fuelled mostly by my short-termed celebrity crush on Clive Owen.
Gattaca succeeds because it is a well-conceived movie. It is complete, as Art should be, in its casting, costuming and set design. I also commend Gattaca‘s pacing. A continuous underlying tension carries this film, skillfully buried beneath the forced grace and poise the protagonists must maintain to pull off their scheme. Our dark personal secrets make life challenging enough. Imagine also having to obsess over the idea that losing an eyelash might condemn your freedom forever.
Check the super 90’s trailer here: