Cronenberg’s “Cosmopolis” Unfairly Overlooked.

cosmopolis.limosceneLast year’s David Cronenberg film, Cosmopolis, seems to have passed most people by. Which is a shame, because it’s got an awful lot going for it.

Don DeLillo’s 2003 novel, on which it is based, certainly seems in retrospect to have been remarkably prescient. It follows an obscenely rich and impossibly young trader, played by Twilight heart-throb Robert Pattinson, who spends a day in his limo as the financial world around him implodes and his fortune evaporates into thin air.

All the time, and all around him, hordes of anti-capitalist Occupy-type ne’er-do-wells stalk the streets. But far from panic, or even react to any of this, Pattinson drifts aimlessly from hour to hour in a state of existential ennui.

The novel came out in 2003. And although DeLillo had actually already written the bulk of it before September 11th and the dot com crash of 2001, it certainly feels like it’s a reaction to the impending sense of doom and Armageddon that came in the aftermath. Given what happened to the financial world in the decade that followed, it all looks remarkably relevant and feels surprisingly fresh.

CrashAll of this of course is classic Cronenberg terrain. Since calming down from his earlier blood and gore fixations, Cronenberg has developed into one of the most consistently interesting and thought-provoking film makers working today.

Films like eXistenZ (1999), Spider (2002) and even the apparently conventional Freud and Jung biopic A Dangerous Method (2011) all explore questions of our place in the world, and examine notions of appearance versus reality.

But it’s the superb and criminally overlooked Crash (1996) that Cosmopolis most closely mirrors. It falls midway between that and Brett Easton Ellis’ American Psycho, as our hero descends on a Stygian journey into urban alienation and existential angst. Where everything is surface, and life has lost all meaning.

robert-pattinson-as-eric-packer-in-cosmopolis_sarah_gadenPattinson is impressive now that he’s been given something grown-up to do. And his American accent is considerably better than to ought to be, if the attempts of any of this compatriots are anything to go by. Apart of course from  Hugh Laurie’s, which is obviously a deliciously wicked joke at the expense of all of his American viewers.

The supporting cast of Paul Giamatti, Juliet Binoche and the porcelain Sarah Gadon as his even more diffident wife are all flawless. And all look palpably relieved to find themselves in something made for people of a double digit age and with a triple digit IQ.

You can see the trailer for it here.

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