Across the Universe

I saw a sold-out opening night screening of "Across the Universe" last night with a group of my friends who had really been looking forward to it. Many of them were extremely disappointed, while in the critical world, Roger Ebert and the New York Times loved it. Because the film was so highly anticipated, and a number of people have asked me how I liked it, I'm writing this review in an attempt to express why the movie is so divisive. I'm not going to talk about plot, or describe any of the numbers. If you're interested in seeing the movie, they'll be more enjoyable if they're unexpected.

It's a bizarre and beautiful movie musical, almost a music video at times, that uses thirty- three of The Beatles' songs and director Julie Taymor's unique visual style to illustrate both a personal love story and the overall conflict in the sixties. The movie is incredibly original and ambitious, and therefore its failings are as dramatic as its successes. Both stem from the same source: Julie Taymor's self-indulgence. That's nothing new to her movies, "Frida" and "Titus" have the same problem, but in a movie stripped of traditional narrative, it's glaringly obvious. Some songs are impeccably chosen and staged with great creativity, but others are too obvious, or thematically forced so Taymor can cram in another song and stunning visual sequence.

For the first half of the movie, I was frequently divided. One innovative sequence would really pull me into the style, then a forced number or awkward staging would distance me again. When an obvious, recognizable number began, I was torn between a cynical impulse to roll my eyes and an almost exhilarated impulse to laugh and applaud.

"Across the Universe" is a mess. There's no denying that. It is poorly paced and badly structured, and at times its feather-light plot and contrived or obligatory numbers become tedious. But at one point, about halfway through, I decided just to go along for the ride. I delighted in every brash, bold choice, whether it worked or not. I let the poignant moments move me, whether or not I intellectually felt that they were contrived.

The Beatles' music had a huge effect on me; from the fateful day that my friend accidentally copied the first three tracks of "Revolver" onto my computer, a love affair was born. Their songs are inexorably tied to memories beautiful and horrible scattered all over my life, and as I grow older, I'm constantly discovering new, deeper resonances in their familiar refrains. Even when the context was vague or stretched, the film's reinterpreting and revealing new facets of these songs seemed to serve as a tribute to their breadth and greatness. Taymor's damning depiction of the horrors of war, and lyrical portrait of young, idealistic love are both painfully expressive and unique, and simply took my breath away. By the film's shamelessly corny close, I realized that I had just had a genuine cinematic experience. For all the movies that I watch, that's incredibly rare.

In his review in the New York Times, Stephen Holden writes, "I realized that falling in love with a movie is like falling in love with another person. Imperfections, however glaring, become endearing quirks once you've tumbled." I could laughingly list this movie's flaws from now till next week, but I sort of fell in love with its sheer audacity. You might not. It's extremely naïve, and thematically simple, and you could find that endearing or irritating. You may love it, or you may hate it, but you're going to feel something. This movie will not change your life; don't expect it to. But if you let your criticism fade to the background, and abandon yourself to Taymor's passionate fervor, you may have a pretty amazing experience.

I have been anticipating this movie ever since I saw the trailer on IMDb like everyone else. When I first saw the trailer, I said to myself, I'm either going to consider this my favorite movies of all-time, or it's going to be trash. Being a huge Beatles fan and owning all their albums on CD, I had huge expectations about the covers of the songs. I saw it with my friend, who is also a huge Beatles fan but not a huge musical fan. Both of us saw it on opening night to the public and to our surprise it was really good! The covers of the songs were actually really good! Now don't get me wrong, the original Beatles songs will always be the best versions but for what they did, they did a pretty decent job. One of my favorite scenes was the "I've Just Seen a Face" bowling alley scene. So creative and fun! Also the "I Want You (She So Heavy) scene was…interesting…but fun to watch. Eddie Izzard's scene as Mr. Kite was hilarious! Both me and my friend where on the floor laughing. Also Bono's scene singing "I Am the Walrus" was great. Don't listen to the critics that say that "it doesn't do the Beatles justice". Actually, it's the opposite. Any hardcore Beatles fan will appreciate all the jokes that were thrown in there. Even if you're not a hardcore Beatles fan, you will appreciate the fantastic love story.

Just one word of advice, go to this with an open mind. Don't expect Oscar-worthy script and dialogue, expect clichés, not a whole lot of character development from the supporting cast but don't let that ruin the movie for you. Appreciate the artistic mind of the director. I mean who cares if they threw in a character like Prudence just to sing Dear Prudence? It's a great song! For all you "I hate every movie that comes out" critics don't see this. It's too artsy for you. Go see this with an open mind not expecting it to win Best Picture for the Oscar. This is one of the best experiences you will have watching a movie. I'm buying the DVD as soon as it comes out. See this movie Beatles fans!!! It does them justice!!! Please email me with any comments you have.

The response to this movie is a clear evidence that people have a stupid low tolerance level for musicals. Across the Universe works amazingly, and surprisingly as a great musical, it has some of the most the daring, balls out attitudes towards the genre, that we have not seen since probably Fosse's revolution of the musical back in the 70s with Cabaret and All that Jazz. And even though most of what you hear people praising is the production values of the movie, like cinematography, production design, costume design, I think that Julie Taymor is underrated in a very unfair manner. The movie is fantastic, it was such a pleasing film experience.

Julie Taymor has always been a very visual director, since Titus, I praised her as a director with extremely rich visual ideas, and compared her to the likes of Baz Luhrmann, which is funny now, cause when the film started, I realize Julie Taymor had a very similar intention with Across the Universe, to that of Luhrmann's Moulin Rouge!, however, I'm of the opinion that Luhrmann was modestly effective, while Taymor hits the nail with absolute precision and perfection.

Even though I was a Musical Lover Freak, that I'll admit to, I had a hard time accepting Moulin Rouge!, I enjoyed it visually, as well as the performances, but I don't know, I was sort of a put off with the messy use of music, which really distracted me from the movie, which was supposed to take place in Pre WW1 Paris, but felt like some weird, annoying place, a musical version of a bad Three Stooges Episode, which I know sounds a little too tough on the film, but that's what I though. It was off putting seeing such a comedic portrayal of Toulouse Lautrec, pretending to co-write the score of The Sound of Music with a clumsy 21st Century version of Michael York, only in 1900s Paris.

I'm dwelling over Moulin Rouge! a little too much, I know, but it's just that people have complained in a similar way about this particular film. Beatles fans are put off by the almost exclusive use of Beatles songs in the soundtrack. I'm not a die hard Beatles fan, but I certainly like them, as pretty much most people, and I though that Julie Taymor's concept was amazing. Across the Universe is a Roseate Stone of the 60s, and because it is from the 60s, takes place in the 60s, and is all about the 60s, the Beatles soundtrack is a match made in heaven. The opening scene, is a perfect example of just how effective the use of the Beatles was, the comparison of late 50s, early 60s Americana Life Style, with a very industrial and rough Liverpool Life Style, from there on, the movie becomes a fantastic musical in all the classical sense, it's so classic that the film could be easily translated to Broadway.

People have said the most inane things like "the film has no plot"...no plot? Are you kidding me, the film not only has a wonderful array of characters that not only represent some of the most iconic figures of music in the 60s, but all of those characters are explored, developed, some to a larger extent than others, just like any movie, and on top of that, most of the characters are resonant in today's society with today's socio-political situation.

That is the other interesting element of the film, not only is it a good story, but it is also a politically conscious movie with extremely poignant images about the 60s and today. Not only does it have poignant images, but also, most of the songs have highly imaginative numbers, that are very technically proficient, in the classic sprawling Broadway musical tradition. And regarding the visual and special effects, I think Taymor was a bit gratuitous with the effects back in Frida, but here, they are all in service of the plot, even if some of the scenes seem like scenes that would go great with a little LSD, they are all used for the effect of creating that 60s feel and look in which the movie moves about with a delicious comedic overtone.

All of these praises go to the master behind the film, Julie Taymor, she deserves more credit than what she has been getting, the incredibly imaginative and exciting musical sequences are excellent. Who cares if it's music from the Beatles, the Beatles are pretty much the official soundtrack of the 60s, and it's not like the film is just a big bloated Beatles tribute, it's a tribute to the decade, and the whole music scene of the decade, aside from the numerous Beatles references, there are references to Janis Joplin, Jimi Hendrix, Morrison.

I wanted to focus my review on Julie Taymor's work, but, the whole film is amazing, the cinematography, the production design , Albert Wolsky proves he is still champ of the musical genre. And the cast, aside from Evan Rachel Wood, most of them are young, fresh faces, which works wonders, since you are not ever wondering about who dubbed that song, you take all the stuff in, without having second thoughts or reservations.

I recommend you see the film, it's great, and if you have a beef about it using Beatles music, well, I only have one thing to say, DEAL WITH IT, it's not like the film is abusing the Beatles legacy, if anything, it's giving it a standing ovation, and it's fitting for the period, and the tone of the picture, so...that's pretty much it, just..."let it be, let it be, let it be".

This film is one of the most bipolar cinematic experiences I've had since George Lucas's 1971 minimalist masterpiece THX-1138 was recut with goofy CGI inserts.

First let's talk about the main gimmick of "Across the Universe": it's a musical using modern remakes of Beatles songs. Some of these new versions, along with very compelling, bold and surreal visuals, are sheer poetry which I'm sure the fab 4 themselves would applaud. But then suddenly get a random toe tapper, full of melodramatic yet sterile vocals (you can hear the auto-tune working overtime) that have no place in the story but for some hastily contrived subplot to serve as a setup for a Beatles crowd pleaser. Yes, I'm talking about the cringeworthy "Dear Prudence" where a minor character with only 10 lines in the whole film randomly locks herself in a bathroom until everyone sings her to come out because the character's name is? Prudence.

On the other hand, I loved Bono's bizarre, humorous and wittily fitting appearance as "Doctor Robert", a self-proclaimed electric messiah who apparently comes to parties with his own personal PA system (or is it a Mr. Microphone cranked to 11?) as he sings to the crowd's orgasmic oohs, "I Am the Walrus".

Another highlight is a very simple, touching and heart-rending version of "Let It Be" sung by a young African-American boy in the middle of the violent race riots and police brutality of Detroit 1960s.

If these last 2 examples are any indication (and there are many more), the talented director Julie Taymor gave some of these songs the red carpet treatment and put them in the most provocative, social and historical context.

But then suddenly there's a really sappy and unnecessary 5 minutes of "I Want to Hold Your Hand" that has no bearing on culture, history or even the plot.

The plot itself is nothing special, but set against the backdrop of the 60s and the domestic unrest over the Vietnam War, it becomes powerful. It's a simple boy-meets-girl story but with tons of quirky characters in the mix (one for every song, and I believe there are 33 songs). My gripe with the plot is that it flirts with making powerful statements about the 60s peace movement, but just when you think it's something you can sink your teeth into, it falls to an inane, predictable romcom cliché, like a misunderstanding because they don't spend enough time together, blah blah blah. (This is one of the moments of "sheer stupid".)

But then, lo and behold, the story shifts to a brilliantly satirical hospital scene with (Vietnam vet) Joe Anderson and (buxom nurse) Salma Hayek singing "Happiness Is A Warm Gun." Thus the needle tips back to "sheer brilliance".

Ultimately I enjoyed this film. It's a worthwhile ride, and the talents of the actors and filmmakers are unquestionable. I just found myself periodically irritated by cheap gimmicks to sell a song or two, and I wish those parts could have been edited out, because otherwise I would've raved about what a great film this would've been.

As it stands, my favorite Beatles remake musical remains "Sgt. Pepper's Lonely Hearts Club Band" featuring the excellent music of The Bee Gees (pre-disco) as well as other fantastic musicians (Earth Wind & Fire, Alice Cooper, Peter Frampton, and who can forget the awesome finale by the 5th Beatle himself, the late great Billy Preston).

Pure emotion. No one can mix theater with film like Julie Taymor. From beginning to end the film takes you on a psychedelic beatle ride that grips you by the ears, the heart and the soul and never lets go. Even now. Hours after the projector was shut off. Every song adaptation interpretation and setting is spot on, fans of the Beatles will recognize that every detail in Taymor's images recall an instance, a photograph, a line or a quote from the band. Even the girl that comes in through the bathroom window. Nothing is left to chance, everything is on purpose. Amazing. Easily the best film of the year. And in regards to people saying it's a two hour music video.. well... yeah, what the heck were you expecting???