DIRECTED BY: David Cronenberg
FEATURING: Robert Pattinson, Kevin Durand, Sarah Gadon, Paul Giamatti
PLOT: A young financial genius is intent on taking his limo across Manhattan to get a haircut from his father’s old barber, despite the fact that the streets are gridlocked due to a Presidential visit, “occupy Wall Street”-type protestors are rioting, and there is a credible threat against his life.
WHY IT WON’T MAKE THE LIST: Robert Pattinson’s disintegrating ride across Manhattan in a mobile cocoon is certainly odd, but it’s a tame and talky adventure from the man who brought us Videodrome and Naked Lunch. Far from being one of the weirdest movies of all time, Cosmopolis isn’t even the weirdest limousine-themed feature of 2012.
COMMENTS: Cosmopolis can be as cold and clinical as the routine physical examination billionaire Eric Packer requires every day, and the results as odd as the importance the examining physician ascribes to his asymmetrical prostate. Absurdly wealthy, Packer isn’t in the 1% of net wealth, he’s in the 1% of the 1%, so rich he’s not interested in buying a Rothko painting; he wants to buy the Rothko Chapel and move it into his apartment. He’s so rich that guys in Robert Pattinson’s tax bracket can credibly protest that his wealth is obscene. Able to buy almost anything he wants, he’s become jaded and now craves novel and dangerous risks; when he discovers one of his many lovers owns a stun gun, he begs to be tazed (“show me something I don’t know”). This need for new sensations drives his character’s journey as he crawls through gridlocked Manhattan, from a civilized and abstract uptown to carnal and violent downtown. Packer may be searching for authenticity, casting aside the trappings of wealth and becoming more focused on the body, but he doesn’t become more sympathetic. He remains very much an alien specimen, with speech patterns that are bizarre to us. Cosmopolis‘ semi-absurdist dialogue is its distinctive strategy. Characters discuss ideas like the metaphorical use of rats as currency, the way “money has lost its narrative quality,” and the lack of originality of Buddhist monks lighting themselves on fire. Packer holds that last discussion with an adviser with the title “Chief of Theory,” played by Samantha Morton, reading her lines like she’s delivering a lecture for a book-on-tape. It’s not just Morton who’s stilted; throughout the film the style of conversation is ridiculously unnatural, with participants incapable of following any philosophical avenues to the end before detouring onto a side street. And it is a very, very talky movie, with Packer essentially interviewing a series of lovers and employees one by one, mostly in the cool blue light of his limo’s electric interior. The exchanges are so clipped and mannered that when Paul Giamatti, a certifiable working-class madman, strides into the movie, his commonplace insanity is refreshing. Giamatti’s monologues are ever-so-slightly more deranged and rambling than the other players, but unlike Packer’s blasé platitudes, they are delivered from a place of passion and pain that the young billionaire envies. Cosmopolis is a talky, symbolic and obliquely philosophical movie, for sure, and it will turn most viewers off. But, in its confused way, it does reflect our current psychology of income-gap anger and financial-apocalypse anxiety.
Cronenberg adapted the script from Don Delillo’s 2003 novel of the same name, which is not generally considered to be one of the author’s better works. You can’t fault Robert Pattinson for trying to break away from his Edward Cullen persona. Accepting a role in a David Cronenberg art film seems a good start at distancing himself from his image as a sparkly pretty boy. Although Pattinson isn’t bad as Packer—his drained and anemic pallor physically fits the billionaire’s character—unfortunately for him, Cosmopolis did not turn out to be the prestige movie the actor had hoped for.
WHAT THE CRITICS SAY:
“…I took a strange pleasure in submitting to this movie’s stilted but weirdly poetic rhythms. But I freely acknowledge that for others, enduring Cosmopolis may be less fun than a backseat prostate exam.”–Dana Stevens, Slate (contemporaneous)
(This movie was nominated for review by Dwarf Oscar, who advised “There is definitely some weirdness going on in Cronenberg’s Cosmopolis. Mostly a dialogue-driven weirdness for sure, but still…” Suggest a weird movie of your own here.)