Upstream Color is a personal experience, not to be explained away simply. It is challenging to watch, and more so to write about. Shane Carruth understands that the people who watch this film will be very familiar with his work, and that he can skip the overtures and come right to the raw, blurry point.
Although I seldom wish to speak about the makers of a film I review, and instead to focus on the art they’ve created, I must confess personal admiration for Carruth: his work ethic, his writing ability, and his methodology. There isn’t enough money in the caliber of films he writes to draw Hollywood financiers, but, rather than compromise his vision, he skips the system and shoots everything himself. He writes, directs, acts in, and scores his own films. Mr. Carruth makes films the way I would hope to: without pedestrian, four-quadrant, handholding. This is a serious gamble, one that can make or destroy commercial prospects for a film. I was excited enough about Upstream Color to pre order the blu-ray disc without knowing what the film was about. His previous film, Primer, I have reviewed here and given high marks.
In Upstream Color, Mr Carruth has added a far more commercial cinematographic experience, almost as an apology for the even more cerebral plot of this film. Biological effects, growth, macroscopic photography, pig life, and the joining and transformation of colors, all swirl in a pool of imagery, wedged between the blinders of a curious narrative.
Initially, when my disc arrived, and I watched the film, I refused to comment on it. Friends asked, and I didn’t know whether I liked it. I was afraid to say that I didn’t. I was afraid to say that I did. Either answer might not be honest. I put the disc away for six whole months. It sat on my shelf, daring me to watch again. When I did, I found an enjoyment, a meditation. A film that makes my heart race for all the right reasons. A film that is a constant exercise in letting go. If you enjoy subtext, broken paths, and questions that are asked outside of the narrative of a film, Upstream Color is for you.
Upstream Color – Trailer
Much of the fun of Upstream Color is in challenging one’s own prejudice concerning film execution. In the locked-in formula taught by film school, script writing manuals, and personal experience, a film should be a ring broken in three pieces, with a beginning, a middle and an end. Each section should link to the next, in tone, theme and most importantly, reason. We must know how a character journeys from one place to another. Although the film does break the ring up into the three-act structure, it colors the pieces differently, and uses pictures to capture emotion over reason. Upstream Color points at the why, rather than the how. It asks blatant existential questions about daily life: when two people meet, what connects them? Why?
The overt subject of the plot is that there exists a type of worm with chemical effects inducing near full mind control. Who would use this worm? Why would they use it? Who would they use it upon? Act 0 pretends to answer the question. A group of boys use the worm and practice martial arts. Some other people take the worm in a pill without knowing it. They want more.
As the main characters become increasingly skittish, they cling to one another. Not understanding what has happened to them seems to have put them in fear of the world. Their thoughts and feelings begin to merge. They feel the same things, even when they’re a mile apart, and are controlled by the same powerful urges. Fear. Violence. Longing. And the only thing left is to cleave to one another.
Mr. Carruth prefers not to explain the film, and so do I. But here writing a review, I have to give you something. Why are there Walden quotes littered through the film? As you watch with a mind that has let go, those Walden quotes become free association while Chris reads the words. They become scenes from the film, and notes about the plot, and thoughts of the characters. It becomes almost too much to explain, and then you just know that film was the only medium with which to tell this story. Experiencing it is an anaerobic bench press of film appreciation, replete with slow burn and endorphin-releasing tension reprieve.
Film Score: 4.3 (Out of 5)
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