Wednesday, August 8, 2012

Total Recall 2012 Movie Poster

Another movie joins the list of remakes that have, of late, come pouring out of Hollywood. Total Recall has been reimagined for the CGI era, much changed now but sharing just enough plot and details to justify the shared appellation. As I recall, the first Total Recall, starring Arnold Schwarzenegger, was an entertaining bit of science fiction with some action and a satisfying twist or two thrown in. The recent version does not reach the same level, falling short mainly because it invests less in the human element, although it does surpass its predecessor in some areas.

The main characters return with the same names. Colin Farrell plays Douglas Quaid, a blue-collar worker with an itch he does not know how to scratch, a vague sense that something is not right with his life. His wife Lori is played this time by Kate Beckinsale, while the rebel Melina is Jessica Biel. When Quaid goes to Rekall, a company that can insert memories of better times into a client’s brain, they discover that the fake memories of espionage and danger that he is asking for are already in his brain, except that they are real.

Quaid has just a few seconds to process this shock before police burst into the facility and try to arrest him. To his own surprise, instincts and muscle memory kick in and he takes out the squad of cops. The chase is on. When he rushes home and tells his wife, she springs a bombshell on him that catapults the plot forward.

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Batman: The Dark Knight Rises

Before the third of the Batman trilogy hit theaters, I had heard that The Dark Knight Rises was a film without hope, with a long and dreary narrative that never loosens its grip. It leaves the viewer without a sense of answers.

I saw it and left confused. It saw it again, and left confused again. All the while, I kept wondering if this interpretive effort would pay off. Maybe it’s just another movie and lacks the ideological significance of the previous two.

I too had read several reviews that had condemned the film from a left-wing point view, arguing that it took a cheap shot at the Occupy Wall Street movement, suggesting that it consists mainly of brainless menaces who are easily manipulated by a strongman leader. The filmmakers deny this.

Regardless, this was probably the best political feature of the film.

However, the merit of its warning about left-wing populism was seriously compromised by the portrayal of the Gotham cops as saintly guardians of the social order. Neoconservatives loved this part of the film, made all the better to them because the prisons are full and Gotham is ruled by a civilian-led authoritarian regime of tight law and surveillance — the neocon dream come true.

What’s going on here? Why is the movie so full of mixed messages and, in the end, so unsatisfying?

Finally, it hit me. And this will be perfectly obvious once you hear it.

The problem is that the film gives Gotham (and us) a choice between two forms of despotism, one “left wing” and one “right wing,” and asks us to choose the lesser of two evils. We can have one of two systems: bureaucratic/authoritarian or revolutionary/dictatorial. The idea of a self-managing society is just out of the question. The film biases that choice by showing one as offered by the evil villain and the other by a corrupt, yet stable status quo.

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