Once again let’s spin the dial on the multiplex time machine and return to another dismal possible future (it’s not a better world usually, is it?). So, is the planet a desolate, scorched hellscape much like in THE ROVER or the upcoming MAD MAX: FURY ROAD? Well, not really. Is it a harshly divided class system pitting the have against the have-nots as in THE HUNGER GAMES or SNOWPIERCER? Nope, not at all. This film harkens back to the cold, antiseptic futures of THINGS TO COME, LOGAN’S RUN, and even SLEEPER. But like the aforementioned games series and the recent DIVERGENT, this film features a teenage hero (male this time) and is based on a series of young adult novels, one that’s twenty years-old (predating those two). And while those other YA-based flicks feature physical challenges and violent competitions, this story is more about emotions and memories. It’s time to jump forward for director Phillip (SALT) Noyce’s take on novelist Lois Lowry’s THE GIVER.
The main focus of the film is teenager Jonas (Brenton Thwaites) who lives in a chosen family unit with Father (Alexander Skarsgard), Mother (Katie Holmes) and little sister Lilly (Emma Tremblay). As the prologue informs us, after an incident referred to as the ruins, society has reformed on the top of a mountain mesa, high above the clouds, so the weather is always warm and pleasant. The dwellings all look the same (kind of like white plastic toy cubes) and everyone dresses the same. Floating drones and in home monitors make sure all is peaceful and that everyone takes their mood-dampening medications every day. Jonas and his friends Asher (Cameron Monaghan) and Fiona (Odeya Rush) are all near 18 years-old and are eager for the big ceremony when the elders who run the society tell them what jobs they have assigned to them. On the big day, a hologram of the Chief Elder (Meryl Streep), announces jobs for everyone but Jonas. Finally the Elder reveals that because he possesses the four “qualities”, Jonas will train to become a retainer of memory, and have all the knowledge of mankind’s past. Jonas will be a receiver. The next day he goes to a home on the edge of the mesa that houses a huge library. There he meets the man who will give all the memories to him, who dubs himself The Giver (Jeff Bridges). Soon Jonas experiences all the pain and joy denied him by the Elders and realizes the society is built on lies. Hearing that the baby Gabriel (who has been staying at his home) has been deemed imperfect, Jonas takes the infant and races against the clock to escape the mountain, evade extermination, and restore humanity to society.
Thwaites, previously seen as Prince Phillip a few months back in MALEFICENT, makes for an engaging everyman hero. He conveys the sense of astonishment while getting memories and sensations (cold, snow, fear), the first stirrings of love, and outrage when he sees the truth about his homeland. He’s a reluctant, but soon determined young man of action. Bridges can still amuse and surprise as the tired portal who wants to be the spark that blows up the happy facade of this new world. I know he’s playing older than his actual age, but he continues with the mushy vocal delivery he used in TRUE GRIT and RIPD (perhaps it’s some of Rooster’s leftover “Chaw”). The Giver’s hunched walk stems from the pressure of bowing to the status quo for far too long. The status is best represented by Streep as the haughty head elder (perhaps channeling a bit of her IRON LADY Oscar-winning role). With her long, straight “hippie” hair, she doles out lots of motherly passive aggression. No need to raise her voice, her look contains enough of a threat. Holmes is the enforcer of the family group, who’s quick to admonish and correct any slight. This tough mother will turn on those kids with no hesitation. Skarsgard is more of the dad that just wants to go with the flow, which makes his duties at the nurturing center even more disturbing. Unlike his “mate”, he may feel some actual affection for the “kids”. Rush is a luminous, lovely romantic interest for Thwaites. She’s reminiscent of a young Mina Kunis (hey, the original just turned 31!). Be warned however, that teen pop sensation Taylor Swift really has a brief cameo. Even with her blonde locks covered by a brown wig, she makes for a dazzling screen presence.
The film has an interesting look to it, that may take some viewers some time to adjust to. Perhaps to show the effect of the daily, deadening meds everything is in black and white with gleaming silvers and grey tones. To show Jonas’s gift, we can see a bit of red in Fiona’s hair as he gazes at her. Later, after working with The Giver, color slowly begins to ease into the film. Of course, the memory transfers are bursts of brilliant color, as Jonas is thrust into jungle warfare and a sumptuous Central European wedding celebration. Director Noyce uses some of the “image beats” editing we saw in THE TREE OF LIFE and a few weeks ago with LUCY. He also captures the monotony of the community’s “sameness”. So what is this future fable warning us of? Fascism or socialism? The influence of mood-changing pharmaceuticals or is it about eugenics? Screenwriters Michael Mitnick and Robert B. Weide keep the story moving along so we don’t zero in on any one of Lowry’s themes for too long. At least these ideas are being brought up, which is more than most YA novel-based films even attempt. Still, those expecting the romance and action thrills from those other franchise flicks may be put off by the more cerebral tone. But fans of the original book should be pleased by the polished, imaginative production designs and attractive young leads, while older film-goers may enjoy the pairing of old pros Streep and Bridges. If this sounds interesting, then give THE GIVER a look.
3 Out of 5
