Monday, May 1, 2017

Déjà vu (2006)

Lead by Denzel Washington, Déjà vu is a normal product of Hollywood’s industry, in its most commercial ways; and that means a lots of effects, technically perfects, in a mediocre plot, structured to support the effects. It also preys in the field of physics and quantum, as it's being the new normal in the arts; but with the same sense of support a mediocre argument, to support the magnificent effects, and so on. That's the normal, but what makes this production singular is the effectiveness in the treatment of the subject; that's the way it draws the rupture of the continuous space-time, where the others —more substantial— epically fails. The plot develops the weakest —but fastuous— theory of the multiverses and play with its possibilities; this theory says a given situation have multiple outcomes, all of them factual and objectives, not just potentials.

The theory is weak, because doesn't have a material prove nor logical, contradicting the essential and necessary unity of the reality; which troubles all the artistic approaches to the subject, due the lack of perspective on the realm. That's why any approach to this problem fails, at the moment of explain the rupture of the continuous; except this one, appealing at the only think potentially able to broke the strictly laws of physics, the human will... because the conscience. The problem is dramatic and then attractive, no matter its scientific nature, or perhaps because that scientific nature; we saw it on Interstellar (2015) with Matthew McConaughey, and in many others. All of then recreates the intricate situation of multiple dimensions colliding, because is rich in dramatism; but all of them fail to explain how or why that given dimensions collide, inflicting the whole drama with the primary weakness of the theory.

Here's where the film becomes interesting, in the mediocrity of a plot that doesn't rely in the accidental singularity; the others bet just this accidental singularity, because is the only way they can rationalize the singularity itself. The problem is that nature doesn’t accept accidents, it has its laws more enforced than humans because it is the reality and not a culture or a moral system; and that’s why those script aren’t credible at all, because reality doesn’t accept exceptions like these. The only exception possible to any given reality comes from the exceptionality of the phenomena which originate it; and that means that in the whole nature, the human been is the only entity able to broke the continuous space-time, with its will.

It’s worthy to see the film with all its mediocrity, just to see this beautiful singularity of the only plot that raises this point; the ability of the humans to broke the unbreakable and set a new reality, which will be a new dimension of life, with its own possibilities. At the end, we can remember that particles are undetermined until observed, and even them are able to retain multiple states as its own; which relates to the indetermination of the reality as a principle, stating a physic problem more consistently than the more substantial proposals. As a whole, this is the only merit of the film —and the perfection of the effects—, and not even the normally perfect Washington; too old here to be good enough, exploiting that sex appeal of the romantic ingredient. Not a person has been successful showing its bare torso after sixties, only Clint Eastwood; not matters even the tenderness and softness of the black skin in Washington, compared with the early wrinkled and spotted of Eastwood.

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