There’s nothing else that feels the way Gravity does. Its weightlessness and terrifying freedom aren’t just the film’s conceit; they’re its thesis. Every part of this gorgeous film works in unison: the cast, soundscape, camera and even the props, all in perfect harmony both stylistically and thematically. If Gravity ever flies too close to the sun, it’s in the expository backstory, which at first seems a little thin but, on reflection, is integral to communicating the film’s philosophical backbone. If these moments are lacking, it’s only in contrast to the breathlessness and wonder that occupy every other second of the movie. An incredible story of survival in a unique setting, Gravity is a triumph of exospheric heights.
Gravity is the story of Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney), two astronauts marooned by a debris storm wreaking havoc on Earth’s scattered satellites. Director and co-writer Alfonso Cuarón again employs the long, mobile takes that made Children of Men so compelling. It’s a wonderful technique for establishing spatial awareness, and it feels even more at home in Gravity. The opening sequence swoops around the astronauts as they go about their business, follows them through the chaos of the storm and even enters Ryan’s helmet before we see a cut. It makes the camera, and by extension the viewer, feel just as weightless as the cast.
Each set piece is astoundingly complex but still feels organic and real, like an intricate painting with invisible brushstrokes. Gravity‘s compositions are heart-stopping; the use of depth, colour and negative space makes every shot a work of art in its own right. As cynical as some are about 3D, myself included, it’s impossible to argue that this film’s atmosphere isn’t improved by the added depth.
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The sound design also deserves special mention. Steven Price’s ever-present score swells and simplifies as the tension rises and falls. It keeps the cast and audience temporally parallel, solidifying the already overwhelming suspense. The silence of space stands in beautiful contrast to the destruction happening all around, making it seem even more unmanageable and frightening. The sound is essential in foreshadowing and building tension, ensuring that you’re already on the edge of your seat when the film so unceremoniously transitions from calm to calamity.
Ryan is an easy character to root for. From the moment we first meet the medical engineer, Bullock ensures that she feels human and vulnerable. The fear and defeat in her eyes as she spins out of control away from Earth are heartbreaking. Admittedly, some of her monologues are a little heavy-handed, especially when she delves into her past. This is the easiest element of the film to nitpick, but it makes sense for the character and is necessary to sell the themes of hope and determination that drive Gravity home.
Kowalski provides an important reprieve from Gravity‘s unrelenting suspense. Playing his usual charming self, Clooney adds some levity and humour at first, but even this is eventually used to build a sense of uncertainty as it becomes obvious that he’s simply trying to keep Ryan calm. More than anything, Kowalski is a framing device that gives context to Ryan’s arc, but Clooney brings a dynamic to the character that is key to the film’s personality.
More than a film, it’s an experience. The sound design and visual composition are ingeniously crafted in minute detail to keep the audience lost in space alongside Bullock and Clooney. This is Buried meets 127 Hours in space. It’s a meditation on the indomitable human spirit and taking charge in the face of futility. It teaches us that no matter how powerless we may feel, or what the outcome may be, we only fail when we don’t give it our all. Cuarón certainly gives it his. Original, thrilling and ultimately inspiring, Gravity is a masterpiece on every front.
