SELF/LESS
US, 2015, 117 minutes, Colour.
Ryan Reynolds, Natalie Martinez, Matthew Goode, Ben Kingsley, Victor Garber, Derek Luke, Michelle Dockery.
Directed by Tarsem Singh.
The premise of this drama which, perhaps unfortunately for the very serious-minded, becomes something of an action and shootout film towards the end rather than staying with the implications of the drama, is very interesting. Some films explore cryogenics in which the person pays a company to freeze their body, to be thawed later so that the person might have a new life – later. The premise of this one is that a scientist has worked out a process by which an ageing and ill person can have a soul or a self-transfer from the debilitated body to a healthy body and come alive, younger, stronger. The limit, however, is that the transferee should not having any contact with their past.
In the early moments of this film, billionaire Ben Kingsley, a sometimes ruthless head of business, who is alienated from his social-minded protester daughter, Michelle Dockery of Downton Abbey, decides that he will make the transfer. He is in the power of a young, rather cool and calculating scientist played by Matthew Goode.
If you have read the credits on the advertising and seen Ryan Reynolds as the star of the film, you will quickly realise that he is the one who provides the body for the transfer.
Were this a documentary, that might be the end of it as the new person lived happily ever after this breakthrough process. But this is never the case in science-fiction. Writers and audiences seem to prefer the Frankenstein mythology, that the scientist or the doctor usurps their human capacities with hubris that makes them want to “play God” and they create a monster.
It is slightly more subtle here, with reminiscences of people who believe in reincarnation and have memories from their past. The billionaire in his new body, initially wants to live the high life of self-gratification, but images surface, images from the past, from the character of the body they now inhabit. Here is a moral dilemma. Does the new inhabitant suppress the memories of the past or encourage them, follow them through, search out the story of the original person in the body.
Since this is a science-fiction film, it is obvious that the billionaire is going to try to find out what happens, discovering the truth, discovering the motivation of the man for surrendering his body, the repercussions for his wife and daughter.
And, of course, the scientist will be none too pleased (and there is an interesting twist on his identity as well) and repercussions for a close friend of the billionaire and his sickly son.
The writers of this film are in fact Spaniards, the Pastor Brothers, who have written some horror stories in the past. It means then that their road towards culmination will draw from action and horror rather than from psychological resolution, which will not only involve guns but also a flamethrower.
While this means that what might have been something of an art-house science-fiction exploration of identity, the nature of the self, the self becoming less than it was, and the potential for selflessness in the altruistic sense (and all those meanings are included in the title of the film), it goes to a more multiplexed mentality culminating in action, melodrama, but not without romantic hope.
1. The title, the initial meaning of the word and its obvious implications? Each part of the word, the significance of the /? Many meanings? The science fiction aspects? Selflessness for others?
2. The plausibility of the plot, the sclence, the moral issues?
3. The New York settings, affluence, the big companies? New Orleans, the laboratories, the jazz city and performances? Missouri, the countryside, the home? Authentic USA? The musical score?
4. The validity of the premise, the introduction to Damian Hale, his age, personality, his work, his millions and his company? Alienation from his daughter, going to see her, watching her, offering her money and her rejection of the cheques? His long friendship with Martin, the meal, the brash young man, admiring Damian, yet being humiliated and ousted? Damian ill and dying? The card with the name of the scientist? His memories of the interview, the video of the scientist explaining life and death? Damian’s collapse, his decision, going to the hospital?
5. Dr Albright, in himself, age, suave manner, British? His explanations about the procedure, his cold and calm manner, the issue of money? The conditions, the new body, and new life, the transferring of the brain, the contact with the past?
6. The two bodies lying together, the new body, unconscious, the attendant assisting the procedure, reassurance, the transfer?
7. Damian gradually waking, the new identity, gradual, weak, the wobbling images, the need for pills, the swimming training, getting stronger, ready to go? Albright and his reassurance of the delivery of the pills?
8. New Orleans, life, the new life of Damian, the younger appearance, sexual encounters, the music of the city, yet disturbing images in his consciousness?
9. New memories, Albright and his slip about the Latin woman, memories of the child? His being upset? Albright recommending him to get away? The memories of the water tower, googling to find it, the location, Missouri, going to St Louis and changing his flight?
10. Driving, the water tower, finding it, going to the house, seeing the photos, identifying the body, the arrival of Madeleine, with the gun? The arrival of Anton and the other guards, Anton and his playing basketball with Damian? Powers of persuasion, the guns, the flamethrower in the house?
11. Damian as Mark, the escape, taking Madeleine, the memories, his military strength coming back, his military tactics? Going to the school, the little girl, the background of her illness, being well, her joy at seeing her father?
12. The explanation of Mark’s motivation, his daughter’s illness, the insurance, selling his body, presumed dead?
13. The escape to find Martin, the discussions and trying to persuade him of the truth? His teaching the little girl how to swim? Madeleine and her kissing, her response? Her accepting the truth? The little girl wandering, finding the little boy, the emergence of the truth about the little boy’s illness, his new body, Martin and his wife?
14. Martin, his phone call, the agents coming, mother and daughter escaping through the woods, their being taken by car? Mark, his escape?
15. Googling the original scientist, finding is wife’s address, his going to see her, Albright arriving, the truth about him and his wife?
16. Mark, the martial arts fights, going to Albright, needing medication? Martin and his formula and information about how to get replenishment of the pills?
17. Going to Albright’s laboratories, the henchman, the fights, Mark and his attack, the flamethrower? The shooting? The film turning into an action show?
18. Damian, his ceding his personality, so that Mark might fully recover, reunited with his family?
