Code 46 (2004)
Maybe I missed something when the
screening I went to at SXSW 2004, but I didn't get
"Code 46." The film's whole plot, which is set in
the not-too-distant future, revolves around how certain
people cannot have children because their DNA structure
may match somehow because of cloning done in the past.
Or something like that. So they can't have children.
So what? When two characters fall in love here and
then they match, why can't one of them just get "fixed"
so they cannot produce offspring? Problem solved.
Oh, I know why. Cause then there wouldn't be a movie.
While "Code 46" makes absolutely
no sense at all, it is cool as fuck. The look of the
film is gorgeous and the music is awesome. Using existing
settings and locales, filmmaker Michael Winterbottom
manages to make the film appear as if it is just a
smidge into the future. As if it were happening just
a few years from now. There is some gorgeous modern
architecture in the film and some cool computer graphics.
Think "Minority Report" if it weren't so washed out.
Think of Francois Truffaut's "Fahrenheit 451" and
how that looked modern but also very contemporary.
That's kinda what's going on here.
All of this is juxtaposed against
a beautiful shoe-gazer score by Free Association that
often elevates the film to the next level of chic.
The film often seems like story, dialogue, plot points
and character are irrelevant. This film is mainly
about looking good and sounding contemporary.
The stars, Tim Robbins and Samantha
Morton, seem to understand what is going on. Maybe
it is on the page of Frank Cottrell Boyce's script
but somehow got lost in Michael Winterbottom's film.
Or maybe they just had good meetings. Whatever the
case may be, while Robbins and Morton work well in
the confines of the film, they truly have no chemistry.
A bondage scene late in the film is particularly embarrassing.
There are some cool flourishes here.
Everyone speaks a sort of hybrid language mainly made
up of English and Spanish which really gives the film
a modern and futuristic feel. And Winterbottom and
his cinematographer sure know how to make the film
look good, especially when it comes to lighting. There's
a dancefloor scene in a nightclub that is particularly
well done.
But overall, "Code 46" is a pretty
opaque film, one that is nearly impossible to figure
out. I think Boyce and Winterbottom are counting on
hip college kids who think the film is cool to buy
up scores of DVD's while they play it over and over
trying to figure out just what the fuck is going on.
There will be plenty of annoying narration by Morton
to either confuse them further or help them along.
Either way, the film will become a cult classic, I'm
sure.
Note:
Also with a cameo by a member of
The Clash (is it Joe Strummer?) singing "Should I
Stay or Should I Go" in a karaoke bar.
Robbins and Morton sing Bob Marley's
"No Woman No Cry" in one scene.
This is the sixth script Boyce has
provided for a Winterbottom film.
Winterbottom was quarantined for
12 days after shooting abroad due to concerns about
SARS.
Scheduled for an arthouse release
in August 2004.
Viewed at SXSW 2004 at the Paramount
Theater with my friend Christian. The film was introduced
by SXSW Festival Producer Matt Dentler.
