I liked David Mitchell’s novel Cloud Atlas.
I reviewed it here in some detail, but here’s a brief overview:
Mitchell’s Cloud Atlas comprises six sections, each interrupted by the next section (with the exception of the sixth section), and then commenced again in reverse order (a simpler way to think of this might be a schema: 1-2-3-4-5-6-5-4-3-2-1). Sections 1-6 move forward chronologically and, significantly, each section represents a new literary trend. (Again, perhaps a schema with illustrating examples would work better here; for more detail, check out my review: 1: Melville-2: Modernism-3: Airport novel-4: Contemporary novel (Roth?)-5: Dystopian sci-fi (post-Orwell, shades of PKD)-6: Post-apocalyptic (language games, à la Russell Hoban’s Riddley Walker)). In short, Cloud Atlas is an exercise in several genre styles, glommed onto a few ideas cribbed from Nietzsche: eternal recurrence, master/slave relationships, will to power, all that jazz. Ultimately—and more interestingly, I think—Cloud Atlas is an exercise in postmodernism-as-genre, a sort of critique perhaps (intentional or not), brought into even greater relief when one examines Mitchell’s novels Black Swan Green (a coming of age story) and The Thousand Autumns of Jacob de Zoet (a straight-up historical romance), which are, again, genre exercises.
This leads me up to the film adaptation of Cloud Atlas, the long trailer for which dropped today.
I would embed the goddamn trailer, but it’s been blocked on YouTube and other similar sites by Warner Brothers, who apparently have absolutely no idea how publicity works.
You can watch the trailer here.
[Update] Here’s the trailer:
Did you watch it? Okay. I’m gonna riff a little:
I know that trailers have to advertise films to a wide range of potential audience members, and that often leads to overwrought musical cues and lines pulled out of context and big flashing words in all caps, but damn, this is cheeseball stuff. Mitchell’s Cloud Atlas is a subtle book (at times), one that works best when the readers are allowed to do most of the work. The trailer suggests spectacle over nuance, bombast over substance. But again—just a trailer.
Not that the Wachowskis—who are directing and writing and producing (along with Tom Tykwer, whose films Run Lola Run and Perfume I recall enjoying)—-are known for restraint.
And, while I’m bringing up the Wachowskis: They are most famous for their visual inventiveness (these are the guys who did The Matrix), but great looking films don’t necessarily mean much. I mean, the last film they did was Speed Racer (okay, Cloud Atlas looks a lot more restrained than that fiasco, but still, these guys have major problems with storytelling).
Now, based on the trailer, the filmmakers seem to have done some significant rewrites. In Mitchell’s novel, each section (or sections 1-5, at least), exists as a narrative of some kind—fictional narratives, in a few cases. Each protagonist comes to find him or herself echoing or tracing or otherwise repeating or prefiguring the protagonist of another narrative—but there’s always the recognition of the textuality (and hence, metatextuality) to this patterning. Put another way, these are all characters in stories that are awfully familiar to us, and Mitchell strives to make the reader aware of this textuality: it’s a thoroughly postmodern move.
The film seems to connect the characters in two ways: 1, it seems to use actors across separate roles (this could work) and 2, it seems to have characters from previous segments interact with each other across segments. I might be misreading the trailer when it comes to point 2 here, but I think that having characters actively puncture the nested narratives of Cloud Atlas is a bad idea. And, even if I am misreading this, the film clearly imposes a unifying style across the narratives—sure the dystopian sci-fi scenes will have different set dressing, etc., than the Pacific journal narrative scenes—but take note of how all the scenes seem to follow a unified visual sensibility. The joy of Mitchell’s novel is the way he plays with, parodies, adores (etc.) the narrative styles he’s reworking. For example, Half-Lives: The First Luisa Rey Mystery reads like a bad airport mystery (or at least a mediocre one). I was hoping that the filmmakers would attempt to do something similar with the film—actually play with the concept of genre, actually manipulate and amplify the distinct genre conventions at work in Mitchell’s book. Which, maybe they do. Again, I know: it’s just a trailer.
But it’s an awfully slick, shiny trailer.
Okay, perhaps I’m griping too much. All the characters seem to be there, and the casting doesn’t seem terrible. My curiosity is piqued, admittedly, but mostly because I want to know how the filmmakers will handle the nested narratives (also: how long will the movie be?). In any case, I’m sure this will be one of those movies where people sigh and say, “Yeah, the book is way better.”
Biblioklept 