Timecode Review
by R.L. Strong (areles AT netscape DOT net)May 5th, 2000
"TIME CODE"
Review by R.L. Strong
* * * out of * * * * *
SCREEN GEMS PRESENTS A RED MULLET PRODUCTION
A MIKE FIGGIS FILM "TIME CODE"
STARRING
SAFFRON BURROWS
SALMA HAYEK
STELLAN SKARSGÅRD
JEANNE TRIPPLEHORN
CO-PRODUCER DUSTIN BERNARD
MUSIC BY MIKE FIGGIS AND ANTHONY MARINELLI
STORY BY MIKE FIGGIS
PRODUCED BY MIKE FIGGIS AND ANNIE STEWART
DIRECTED BY MIKE FIGGIS
Rated R: for adult language, sexual situations, homosexuality, and violence. 93 minutes. Release: 2000
There are those experiences in our lives that impact on all of those around us. Mike Figgis, who created the cinematic benchmark "Leaving Las Vegas" has crafted a revolutionary form of cinema. Unfortunately, the story being told is not as daring as the technique being used.
The film opens in the office of a Psychiatrist (Glenne Headly) as Emma Green (Saffron Burrows) relates a dream in which her husband has a small wound in his side. He is bleeding badly but is not upset by the wound, he is almost comforted by it. Emma is concerned that her husband is having an affair, as their marriage is deteriorating.
We are next introduced to Lauren Hathaway (Jeanne Tripplehorn) as she leaves her home, stopping in her driveway to tamper with the tire on her girlfriend's car. As Rose (Selma Hayek) gets to her can and notices the flat, Lauren offers to give her a ride to her audition. Again the suspicion of infidelity is brought up. Lauren questions Rose with her suspicions. Rose is adamant in her innocents. Lauren relaxes and the relationship seems to be back on track. But Lauren's suspicions are still potent. It is when she manages to place a small radio transmitter into Rose's purse that the truth starts to unfold.
Finally we meet Alex Green (Stellan Skarsgård) a Motion Picture Producer who is having a nervous breakdown while his partner Evan Wantz (Xander Berkeley) tries to negotiate a deal with up and coming Director Lester Moore (Richard Edson). As the plot develops we learn of the inter-relationships between all of these characters, and how these relationships affect others on the periphery of the tale.
The revolutionary style used to tell this rather simple tale of moral breakdown is what makes the film so compelling. Shot entirely in one continuous take with four digital video cameras, the film is projected in four equal panels. The screen takes on the appearance of a window pane, with each major character (or their immediate environment) being the subject of each panel. Each of these four panels conveys a single story from four distinct views all set in real time. And there are many moments where the action (s) cross over into other panels, creating a montage of time and drama that is invigorating.
The screen is set up as such: Emma Green's (Saffron Burrows) story takes place on the upper right hand of the screen. Lauren Hathaway's (Jeanne Tripplehorn) tale is on the upper left. Alex Green's (Stellan Skarsgård) drama is played out on the lower right corner, while Rose's (Selma Hayek) comprises the lower left. What may seem to be a difficult method of carrying out a narrative, is surprisingly simple. Director Figgis uses sound to direct the audience to the pertinent story panel. Not once during the course of the film does the story become muddled or convoluted. The only moment of theatricality in the film is a plot device of a series of earthquakes (there are four in all, one for each major character). While superficially, this seems to be simply a devise to show off the timing between the four cameras, it actually reflects an emotional tide that each individual character is experiencing. But the effect is more intrusive than it needs to be.
Now the technique of "split-screen" is not new. Several Directors have used the technique to embellish their films for short sequences, most notably Brian DePalma ("Sisters", "Phantom of the Paradise" and "Blow Out"). Only one other film has used the 'split-screen' for a complete movie and that was Richard L. Bare's disastrous "Wicked, Wicked" (1973). Also being shot in one continues take (with no edits), the film calls to mind Alfred Hitchcock's "Rope" (which actually did have edits but were cleverly hidden by either furniture or the actors themselves crossing in front of the camera).
The performances in the film are remarkable in that all of the actors had to improvise their scenes. Director Figgis only gave his actors an outline and plot points for his story, letting the actors natural creativity and intuition carry their performances. The standout performances in the film are by Jeanne Tripplehorn, Selma Hayek, Stellan Skarsgård, Holly Hunter and Julian Sands (as a Hollywood Massage Guru).
The problem here is that with so much going on, it is hard to focus on any one character. Not to say that the story is muddled. But it is simplistic for a mystery, and too technically complex for a comedy. While the film is invigorating and compelling in its execution, its story is not. Mike Figgis is a unique filmmaker, his aforementioned "Leaving Las Vegas" was a revelation of style and characterization. "Time Code" is a fascinating film in and of itself. I'll be interested to see what Mr. Figgis does next.
Owned & Copyright © 2000 R. L. Strong
Nothing in this article may be quoted or re-printed without the expressed written permission of the author.
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