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Cinematography by Lance Acord
John Cusack
Cameron Diaz
Orson Bean
Catherine Keener
John Malkovich
In this film, similar to his work in Eternal Sunshine, he creates absolutely impossible situations. (Portals into peoples� minds? That�s the sort of thing that shows up in bad sci-fi or fantasy stuff. I usually hate that sort of thing; usually feels like pseudo-surrealism to me.) But then, he works his magic; his characters react exactly the way they would if such situations actually occurred. I find myself repeatedly thinking that his characters are incredibly true-to-life, even though they are as removed from �life� as it is possible to get.
I must admit that the storyline of Diaz/Keener and their sexual confusion interested me very little; maybe I should make that �not at all.� But Craig Schwartz was absolutely fascinating. A socially awkward puppeteer, played brilliant by John Cusack, inexplicably finds himself able to control someone else completely: the ultimate dream for a puppeteer, and a treasure trove of ideas. And Kaufman delves deeply into the questions raised by his absurd situation, using this character to explore a host of issues: self-worth, celebrity, the addictive nature of power, and the overwhelming desire all humans have to be loved.
Technically, the film is adequate. Jonze does a nice job of creating a surreal visual context for the film; Floor 7.5 is an excellent example. The low ceilings and even lower camera angles convey a real feeling of apprehension, a mood that fits the film perfectly. And the portal sequences could very easily have turned corny, but Jonze manages to head this particular difficult off. However, Jonze realizes that the script is his crown jewel, and stays out of its way.
The performances are excellent in most cases, though both Diaz and Keener rubbed me the wrong way slightly. (Have I mentioned that their storyline didn�t interest me much?) Cusack is brilliant, to be sure. But even his superb performance isn�t the backbone of the film. That distinction would have to go to John Malkovich, who gives himself over completely to the script. His transfiguration into the Schwartz-controlled Malkovich � the Malkovich who remakes himself as a puppeteer of real genius � is perfect. (I have a hard time imagining many Hollywood types who would be as willing to participate in this sort of wild, image altering thought experiment as John Gavin Malkovich.)
All in all, a thoroughly thought-provoking piece that lacks a bit of the polish Charlie shows in Eternal Sunshine, but provides more heart and soul than Adaptation. Kaufman, who was wavering on the brink in my mind, is now firmly established as a genius.
"The point is that this is a very odd thing, supernatural, for lack of a better word. It raises all sorts of philosophical questions about the nature of self, about the existence of the soul. Am I me? Is Malkovich Malkovich? Was the Buddha right, is duality an illusion? Do you see what a can of worms this portal is? I don't think I can go on living my life as I have lived it. There's only one thing to do. Let's get married right away."