The Cell (2000)

With the point at which the bold, cloudless sky meets the vast orange sands below strikingly clear Catherine Deane (Jennifer Lopez), dressed in white meanders through the desert. Already we are presented with symbolic imagery. The landscape is one, the burnt-out ship wreck, the scorched trees and the motionless horse. Catherine Deane meets a boy, the son of a millionaire. He appears well here but really he is comatosed. He's not really in a desert either. The opening scenes depict the results of unconventional science methods of unlocking the thoughts of those who cannot share them otherwise. Back in the desert with a squeeze of her hand, we are transported to surroundings that seem more familiar but are still equally perplexing. Scientists peer through wide glass windows at two bodies head to toe in red virtual reality suits, squares of material covering their faces. They are hooked up to some kind of machine, a machine that produces the visions we just saw.

This is Tarsem Singh's The Cell and it is unlike any film I've seen before. It possesses the psychology of The Silence of the Lambs and blends this well with the artistic creativity and beauty we would come to behold in David Lynch's Inland Empire. Mixed in for good measure is the race against time nature of any bog standard crime thriller and a bit of science fiction too... oh and there are even scenes in there that modern day audiences are likely to associate with the Saw and Hostel franchises.

After it's intriguing start the film switches focus pretty quickly. We meet Novak (played by Vince Vaughn, still in his pre-comedies stage) and his F.B.I. team as they track down a serial killer they identify as Carl Stargher (Vincent D'Onofrio). Trouble is, although they successfully apprehend Stargher, this is not before he has fallen into a coma. This incident provides the link with the film's beginning. Using the unusual, experimental methods from the beginning of the film Deane will attempt to unlock the mind of Stargher in order to try and locate the killer's next target who they discover is locked in a glass tank in an unknown location, a tank that is gradually filling with water.

I don't want to ruin the storyline but simply put, The Cell combines all the genres it appeals to and creates a multi-layered film of the highest artistic quality in which we really care about the characters and really believe that well-being is on the line.

Those viewers expecting more thrills than psychology are likely to be left disappointed, choosing to pass this off as bizarre, pretentious nonsense. Perhaps they aren't far from the truth there but by choosing to study human psychology in such a unique, unconventional way, Singh gives himself the opportunity to allow his artistic side to truly run wild. By blending bold, vibrant colours with unique set design and an unmatched visionary direction we the viewer are treated to striking image after striking image. The Cell is without doubt one of the most artistic film of the past decade.

Is it's conclusion one of satisfying clarity? No not exactly, but a film of this kind doesn't need nor deserve clarification. It's not always as simple as fitting square pegs in square holes, but it does admittedly get a little lost in it's own ideas in the final scenes. However, these issues are only minor and further viewings will only help to piece together what is an already brilliant film.


Rating: 8.5/10