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Within the first fifteen minutes of Sky Captain, I was in. Expansive robots swarm Modern York City and stomp through the streets, Gwenyth Paltrow as Polly Perkins does a pitch-perfect emulation of those 1930’s newspaper gals, and the whole movie has the feel of the best archaic sci-fi movie never made. I felt like a five-year-old again; not in that still-eating-paste sense, but because something on the veil was so boldly intelligent I nearly leapt out of my seat and applauded. No freaking joke. Needless to say, the rest of Sky Captain never really reaches the level of invigoration that its slam-bang opener achieves (and yeah, it has a few stupid moments), but it’s mild an accomplished, consistently intriguing movie with enough in-jokes to withhold film buffs ecstatic (inspect for not only references to The Wizard of Oz, but a few Citizen Kane nods as well) and enough rip-roaring action for everyone else.
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Sky Captain could have been an empty employ honest for the sake of a recent filmmaking technique – I’m definite you know by now it was all done in front of a blue mask. What makes it so spellbinding, though, is how seriously everyone takes the whole endeavor. Jude Law effortlessly embodies the sarcastic, multi-talented everyman do-gooder; Gwenyth Paltrow delivers those one-liners in a blueprint that Howard Hawks would be proud; Giovanni Ribisi steals his scenes like any faithful sidekick should; and the whole situation of the movie (which could have been a borderline parody) comes off as deadly serious. Don’t let the blue-screen hesitation absorb you aid from this one; if you complain that they don’t perform ‘em like they traditional to, here’s proof that it’s not always the case. B+
I assume I can say with some confidence that Sky Captain and the World of Tomorrow is not quite like any other film you’ve ever seen. Whether that’s a trustworthy or a abominable thing depends on what you believe a movie should be.
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Sky Captain is position in the years between the World Wars. Ace big-city reporter Polly Perkins (Gwyneth Paltrow) gets wind of a unlit world-domination situation piquant a German uber-scientist, named Totenkopf. As she begins to investigate, the city is attacked by giant robot storm troopers, who wreak destruction and attempt to retract the municipal generators. (I am not making this up.) Polly and the city are saved by the timely arrival of Joe “Sky Captain” Sullivan (Jude Law), who turns the tide in his proper P-40 fighter plane. Polly and Joe, who have a bit of a history, reluctantly join forces to derive Totenkopf and foil his outrageous plans. They are aided by Joe’s whiz-kid sidekick, Dex (Giovanni Ribisi), and his worn flame Francesca “Franky” Cook (Angelina Jolie), who is the commodore of an armada of flying British aircraft carriers. (Calm not making this up.) The splendid guys valiant sundry fantastical adventures fascinating many more mechanized henchmen before they finally locate Dr. Totenkopf’s lair in Nepal. The ultimate confrontation that ensues between capable and snide brings the earth to the brink of apocalypse.
Okay, so worthy for the situation, which is delicate negligible. And while we’re at it, let’s dispose of the acting; Law, Paltrow and Ribisi are qualified actors with beneficial range, but Sky Captain’s script wouldn’t overtax the thespianic skills of a wombat. All of which is beside the point, because this movie is about other things.
The first thing to know about Sky Captain is that handsome distinguished everything you ogle on the cloak, aside from the actors themselves, is created whole cloth out of CGI. That gives creator Kerry Conran almost unlimited license to do whatever he chooses – and what he chooses is very uncommon indeed, if rather tantalizing withal. Conran goes to incredible lengths to develop Sky Captain contemplate convincingly like a very customary science fiction movie; even the “film” stock seems customary, the color bleached, the images burred with itsy-bitsy haloes. The very conceit of a lone aroused scientist developing technology to extinguish the world as we know it is hopelessly antique (although admittedly the station has rather a lot in accepted with 1979’s Moonraker) . And the mountainous, bolted and riveted, bucket-headed robots gape like they marched straight out of the 1950s.
Conran gleefully adopts the logic holes, discontinuities, and region conveniences that were standard in movies before audiences developed a taste for realism. Early in the movie, for instance, Dex is grabbed by a robot and carried off, but somehow finds time to leave a clue stuck to the underside of a desk by a wad of chewed gum. Following the clue, Joe and Polly sail all over the globe (including an ocean or two) in his diminutive P-40, managing to pack along a few cases of Vienna Sausages and an apparently inexhaustible supply of wardrobe changes. At one point, the plane gets a great rock lodged in its tail assembly, making it impossible for Joe to maneuver, but then a few moments later the rock is conveniently gone. And how the heck does Totenkopf invent a monumental fortress, complete with armies of giant automata and a rocket originate complex, in the inaccessible wastes of Nepal?
What’s notable is not that these implausibilities exist in the movie, but that the writer/director flaunts them and demands that you discover. Conran emulates even “flaws” like these from the former movies he evokes, because those flaws arose out of a romantic mindset that he is making every trouble to recreate.
On one level, the film is a straightforward narrative about Joe and Polly and Dex and Totenkopf; but on another – and ultimately more indispensable – level, it’s about nostalgia. Not only nostalgia for worn science fiction movies, I contemplate, though Conran clearly delights in them; but even more for the innocence of a world idea that made such movies possible. In a method, Sky Captain – with its indestructable hero, its legal certainty, and its inhuman, otherworldly menace – is more about Iraq and September 11 than it is about monster robots. It’s about decisive, cinematic victories instead of messy, real-life quagmires. If your opinion of a gracious movie is one that places complex characters in realistic conflict, go look The Door in the Floor. But if you’d rather suspend disbelief for a couple hours, flying your P-40 into the sunset of a tickled ending, check out Sky Captain and the World of Tomorrow.
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