eXistenZ

eXistenZ
by David Cronenberg

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DVD Reviews of eXistenZ

DVD Review: Cronenberg "Slimes" His Own Idea
Summary: 3 Stars

Video game maven and designer "extraordinaire" Allegra Geller (Jennifer Jason Leigh) has created the ultimate virtual reality video game, eXistenZ (pronounced EGs-ah-stenz), and a control group has been assembled to test it out, with Allegra herself as the guide and game-master. This is not your typical video game, however, not by a longshot; to play, in fact, the participants have to be fitted with a "bio-port," which is implanted in the base of the spine, and into which the game is hooked up via a connection that looks like an umbilical cord. The game module itself is like nothing you've ever seen, either. A kind of erotic-looking latex affair on the outside, the components are actually organic in composition. From all appearances, this is going to be one wild ride of game, which is exactly what Allegra and her company is promising.

The night of the test is ill-omened, however, in light of the fact that rival companies are out to either steal or stifle the realization of eXistenZ. There have even been death threats, and an assassination attempt on Allegra's life at this juncture is clearly within the realm of possibility; and accordingly, a bodyguard, Ted Pikul (Jude Law) has been assigned to protect Allegra, and most importantly, the game-- the prototype of which is the only one in existence. And it is in Allegra's personal game module. And so the festivities begin, with the promise of excitement that just may transcend even all that eXistenZ has to offer.

Reminiscent of a couple of his earlier films, "Videodrome" and "Scanners," Cronenberg has crafted and delivered a thought provoking film, the message of which he presents (as he did with his aforementioned films) in fairly graphic terms. He plants the seeds of disconcerting shadows in your imagination, then waters them with visual stimuli that encompasses myriad forms of all things creepy and crawly. In addition, he weighs in heavily on the fear factor, relying on the effects blood, slime and things that ooze will have upon his audience. And it's all very effective. He sets a good pace and attempts to balance out story and F/X, but he does enjoy things that gurgle and spill out, and more often than not the F/X tend to take precedence over the story. But this is Cronenberg's style, and it works well for him in most instances.

Having such a definite visual style, however, does not necessarily lend strength to character development, and Cronenberg (it would seem) relies upon the creativity and initiative of his actors to find the tone that will most effectively convey their respective characterizations most accurately and efficiently. Essentially, the characters are a secondary consideration, if fact, so any depth that may have added considerably to the emotional involvement or impact of this film is absent. Cronenberg is too intent on suggesting the effects of all of this on "people," and as such, the individual gets lost in the shuffle of goo.

Given Cronenberg's priorities, it's no surprise then that the performances suffer somewhat from it. Jennifer Jason Leigh looks terrific in this one, and she's certainly convincing to a point, but Cronenberg has written a one-note symphony, and that is precisely what he extracts from his actors-- nothing more and nothing less. There's just not enough "shock value" to be derived from detail and nuance of portrayal, so Cronenberg simply doesn't bother with it. Jude Law also succumbs to the maestros style of conducting, but he plays the note he's given as well as can be expected.

As Kiri Vinokur, Ian Holm's talents are wasted in a role better suited to the likes of Vincent Schiavelli or Dick Miller. Furthermore, Shciavelli would have been perfect in the role of Gas, as well, which in the film is played convincingly enough by Willem Dafoe. But again, for Cronenberg's needs it was a phone-in; certainly not a stretch, by any means, for Dafoe. In fact, it would have been an interesting casting twist to have Schiavelli play both parts (and it would have saved on the budget-- two birds with one stone!). Also slipping into the portrayal Straits of the Individual Lost are Sarah Polley (Merle) and Christopher Eccleston (Levi).

The supporting cast includes Don McKellar (Yevgeny), Callum Keith Rennie (Hugo), Oscar Hsu (Chinese Waiter) and Kris Lemche (Noel). In retrospect, Cronenberg's film is something of a study in contradictions; while it has a concept that is intellectually stimulating, the presentation is designed for a target audience that will inherently lack the capacity or experience to appreciate the more profound aspects of it. Interestingly enough, this same year (1999) the Wachowski Brothers explored similar territory, thematically, in the resoundingly successful "The Matrix," which not only has superior F/X, but pays close attention to characterization, through which a sense of autonomy-- even among the masses-- emerges effectively. And it is precisely that lack of consideration of the individual human element that makes "eXistenZ" less than satisfying. Cronenberg has a terrific idea here, at the heart of which is a cautionary tale with a significant moral; and it's a shame that that is not the film he made. Instead, he delivers a film that is entertaining on a very base and basic level, but which, in the final analysis, limits itself unnecessarily.

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