TIME LINE
US, 2003, 116 minutes, Colour.
Paul Walker, Frances O'Connor, Gerard Butler, Billy Connolly, Anna Friel, Neil Mc Donagh, Ethan Embrey, David Thewlis, Matt Craven, Michael Sheen, Lambert Wilson, Marton Csokas, Rossif Sutherland.
Directed by Richard Donner.
Having read Michael Crichton's Timeline and enjoyed its kind of Saturday matinee adventures, I was looking forward to the film version. It begins exactly as the novel does. The last scene is the same as in the novel. And, in between, it stays very close to the novel as well. The result is an entertaining adventure in the past and some imagination concerning time travel in the present.
When an archaeologist (Billy Connolly) working on the ruins of a 14th century fort and village disappears, especially when a message dated 1357 is discovered, his rather gung-ho son (Paul Walker) and the archaeological team (headed by Frances O'Connor and Gerard Butler) are naturally concerned. What they never dreamed was that they would be following the professor within hours back into the 14th century. Not only do they have to find him and bring him home, they have to take an active part in the battle between the English and the French, rescue the Lady Claire (Anna Friel), defeat the English lord (Oliver), confront a scientist who finds himself more at home in medieval France - and get back themselves. Which is - more or less - what they accomplish. The enjoyment is in finding out what is the more and the less.
Michael Crichton's novels are a bit like theme parks (well, of course, Jurassic Park really was one) and this version takes us on a medieval adventure of knights, damsels and battles with 21st century Americans all the while trying to disguise themselves (although it is yet another case of the yanks coming to the rescue of the Europeans!). Even the technological plant where the time machine operates is a different kind of theme park. Richard Donner (Omen, Lethal Weapon, Maverick, Superman) set out to make a rollicking adventure without pretensions to literate dialogue of method acting. And he has.
1. The novel by Michael Crichton? Imagination, science, fantasy? Adaptation to the screen?
2. The contemporary settings, science fiction, time travel, laboratories and experimentation? The contrast with France in the 14th century, the mediaeval town, the way of life, the battles? The combination of the two worlds?
3. The title, the credibility of the plot? The possibility of this kind of time travel? The technology, the experience of time travel, being in another century with one's contemporary consciousness? The experience of another time, the dangers, death? Opting to stay? The possibilities of returning?
4. The present: the technology corporation, its work? The opening with the scientist on the road, his wounds? The mystery? Robert Doniger and his being the head of the firm, relentless, his knowing what had happened, his wanting to develop his technology, ruthless? The assistants, their work? The professor, the possibility of his going into the 14th century? His being lost, Doniger and his wanting to get him back? The revelation that others had gone in time travel and returned? The guard who did not return but stayed? The decision to send Chris and the team to the 14th century to recover the professor? Doniger's decisions, his wanting to get them back, the change in the technology, his ruthless attitudes and wanting to destroy them? His own going back into the 14th century, confronting the battle, his death? The successful return of the group? The film's comment on this kind of technology, the ruthlessness of those who wanted power and who were greedy for money?
5. The people working on the archaeological site, Chris and his relationship to the professor? Kate, Andre and the others? The discoveries, the reconstruction of the town, the secret passages? Their knowledge of what was happening in 1357? The French, the English, the siege, the danger to Lady Clare? Lord Oliver and his attack? Their agreeing to go to look for Professor Johnston?
6. The experience of the time travel, their arrival? Their ability to disguise themselves? The issues of language - and Francois speaking French?
7. The immediate dangers, the pursuit by the troops? Their getting into the town? Scouting, surveillance? Their assessment of the war situation? Their becoming involved in the war, with Lord Oliver? Seeking the professor, going into the dungeons? The continued danger from spies? The meeting with Lady Clare, Lord Arnaut? Siding with him?
8. Lord Arnaut, the dangers, his position? The politics? The military siege? Lady Clare, her antagonism, the reaction to Andre? Her believing the group? Her being destined for execution? The rescue, falling in love with Andre?
9. The search on the site for the hidden passage? Chris and his having to become a hero, the dangers, the fights, the military? Andre and Kate? Collaborating, their clashes? The explosion and their gradually finding the passage? The possibility for rescue?
10. The professor, his work on the archaeological dig, his relationship with Chris? His going to the technology corporation, travelling, their finding his glasses, the diary entries? Their finding him in the 14th century, rescue?
11. The build-up to the climax, Lord Oliver, tyranny, his oppression of the town? Lady Clare? The encounter with the group? The build-up to the battle, the presentation of the battle, the fiery arrows? The attack, the siege? The death of Lord Oliver?
12. The guards, their travelling with the group, their being killed? The discovery of Robert de Kere, his decision to remain in the 14th century, his becoming the enemy, the confrontation and his death?
13. The presentation of life in a 14th century village, the attention to detail, the streets, the houses, the shops, the castle? The attention to detail of the military, the siege?
14. The tongue-in-cheek approach to the whole story - Saturday matinee style entertainment?
