FILM: Arrival (Dennis Villeneuve - 2016)

[The Illustrious Jerry 3,356]

Arrival (2016)

-SPOILERS WITHIN- If you have not seen this movie and would like to or have been planning to, I recommend you watch before reading this. 

 

The possibility of the existence of extra-terrestrial life forms has always sparked the curiosity of mankind, and nowhere is this more evident than in cinema. Many of the most beloved and popular movies ever made revolve around this prospective notion, and while not only being connected by the presence of alien beings, science fiction films of this nature are often linked by a far more profound core. 

 

Bearing no exception, Dennis Villeneuve’s Arrival features a seven-legged alien species referred to as heptapods, and mainly focuses on their arrival on Earth, their interaction with humans thereafter, and their eventual departure. Nonetheless, the resounding message of the film revolves not around these mysterious beings, but rather human life itself, and when this thread reaches its fulfillment in the film’s touching epilogue the result is beautiful and undeniably moving. The aliens are merely a channel through which a broader discovery is made, and the way Villeneuve so wonderfully captures this is enough to gain my respect. What’s more is that this underlying key is not even shown to us on massive scale, but rather in the life of a single person, bringing us right down to the very heart of the story. 

 

The intrigue sees linguist Louise Banks (Amy Adams) and physical theorist Ian Donelly (Jeremy Renner) recruited to a research team by Colonel Weber (Forest Whitaker), after 12 unidentified objects appear around the globe. Banks and Donelly eventually discover that these shells are indeed inhabited by alien life forms, and that they are to enter inside and attempt to communicate with the visitors. Teams around the world attempt similar contact missions but are unable to make any significant discoveries regarding the strange language of the heptapods, offering a side of globalism in a film that already says so much about the human race. They struggle to ask and answer the “big question”: why are they here? 

 

There’s no direct or glaring influence from other sci-fi ventures here, but comparisons can still be drawn quite easily. Take 2001: A Space Odyssey for example, notorious for extended sequences of subjective and immersive silence, and for next to no dependence on dialogue as a storytelling device. Arrival tends to embrace this trait at times, with a good deal of the script being unsubstantial talking, mostly over intercoms or radios. On that note, this is neither a film that is over-fond of silence, and there’s a great balance of explanation between both words and visuals, the latter of which is quite effective, honing in on Kubrick’s ability to squeeze every second out of a shot through staging and sense of duration, to a degree. Wide and panning shots of the shells evoke that sense of mysterious awe that surrounded 2001’s Monolith. There’s certainly a lot of air, as in, room to take things in and breathe at work.  

 

As Kubrick’s Monolith seemingly blessed prehistoric man with the knowledge to create and use tools, so to do Villeneuve’s heptapods offer a gift for humanity. Their sense of time allows them to see the future. When one submerses themselves into their language (which in a way is the essence of their existence) they inherit this ability. This manipulation of time is the key to decoding the chronology of the film's events, and while some may be able to interpret the timeline before it’s glorious yet subtle revelation, not an ounce of its incredulousness is lost. Villeneuve throws in a variety of “flashback” sequences, even opening the film with what we believe to be the life story of Louise prior to the visitors’ arrival. These moments give us a glimpse of Louise’s time with her daughter, and eventually reveal that she separated from her husband. And then we are given sequences, mostly in the final act, which we immediately perceive to be premonitions because of their subject matter. These flashbacks and future flashes appear to us as central to the film’s story, but we don’t quite understand why. Did something in Louise’s past foreshadow the alien beings? Is there some spiritual connection between her deceased daughter and the heptapods? In most other cases, these possibilities would be the wrap-up that many other creative minds would go through with, and the audience would depart having seen a decent yet somewhat rudimentary sci-fi effort. What we get from Villeneuve and company exceeds this. In fact, it excels beyond this. All of these moments were Louise’s glimpses of the future as she slowly became immersed in the language of the heptapods. The opening is resolved in the closing, and it’s beautiful. I should hate to spoil anything beyond this point even though I’ve pretty much tied everything together here, but the payoff is best when one views it for themselves.  

 

Arrival is a journey. We don’t know quite when and where we are on the journey until we perceive it all in the end. It's carefully crafted and has a heart that’s deeply beautiful. Highly recommended.  

 

**** out of **** 

 

Any discussion regarding the intricacies of the film, and even the thumbs-up score by Johann Johannsson is welcome hereafter. 

[A24 4,326]

I believe Villeuve cites Close Encounters of The third Kind as an influence.

 

 

[Holko 9,499]

The cinematography by Bradford Young stood out for me because it looked both very similar and very different to his other work we surely know here, Solo. Whereas there the use of only practical, low lighting was gimmicky, cumbersome, irritating and made things harder for the viewer, here it actually serves a purpose - the only true bright light comes from the aliens, everything else, all the human world is dimmed and not as important. They also say in the extras they wanted it to take place on a bad, rainy Tuesday morning, which was achieved and fits perfectly.

[A24 4,326]

But just as with Blade Runner 2049, I did not connect with Arrival. I had a hard time believing the characters and their actions. I didn't like Sicario either and I probably won't like Dune either. 

[The Illustrious Jerry 3,356]

1 hour ago, Holko said:

They also say in the extras they wanted it to take place on a bad, rainy Tuesday morning, which was achieved and fits perfectly.

Oh yeah! Great observation there, and I was quit intrigued in seeing Young's name as the credits rolled, because I certainly recognized him from Solo. It's interesting, because even when it's daytime the lighting isn't very, well, bright, but rather a hazy kind of grey. I can still remember that scene where Louise meets Ian in the helicopter for the first time, and there was this kind of deep blue about the cabin. It was really quite interesting. Of course, it's not to say that it's as difficult to view as Solo was at times, but I'd say that it has a better sense of lighting and staging. Remember that apt lighting doesn't neccesarily mean more light. 

 

2 hours ago, Alexcremers said:

I believe Villeuve cites Close Encounters of The third Kind as an influence.

Right. That's apparent as well. 

 

Additionally, Holko said in a separate conversation that CE3K gets away with stating music is a universal language because of John Williams' five tones. That is correct. I had originally made the connection between these two films because of their obvious link of being able to communicate with aliens, and how it is done. Of course, one could also draw parallels between Roy and Gillian (and company's) mysterious "calling" towards the Devil's Tower and Louise's connection with the heptapods. 

 

1 hour ago, Alexcremers said:

But just as with Blade Runner 2049, I did not connect with Arrival. I had a hard time believing the characters and their actions. I didn't like Sicario either and I probably won't like Dune either. 

Hey, to each their own. I found the epilogue to be particularly moving, just the way everything comes to fulfillment. That was my connection with Arrival. Had it failed to conjur up something along those lines I must say that it would not have been as good. 

 

And I know that I've terribly neglected the music, but the use of Max Richter's On the Nature of Daylight was a great choice. Wise decision, underscoring the scene to perfection. 

[JoeinAR 1,949]

On 7/30/2019 at 12:53 PM, Alexcremers said:

I believe Villeuve cites Close Encounters of The third Kind as an influence.

 

 

Perhaps but Close Encounters is a far far superior film. 4 stars. More like 1-1/2 to 2 stars. 

[A24 4,326]

Villeneuve would agree since CE3K is one of his 3 favorite sci-fi flicks.

[Brundlefly 2,385]

Arrival is better.

[Disco Stu 15,495]

Amy Adams is a distractingly better actor than Jeremy Renner, but I liked the movie a lot.

[Holko 9,499]

Well, Ian was written as "he's there, too", which Renner played to a fault!

[JoeinAR 1,949]

11 hours ago, Brundlefly said:

Arrival is better.

Not in this universe. You're embarrassing yourself just suggesting that.

11 hours ago, Disco Stu said:

Amy Adams is a distractingly better actor than Jeremy Renner, but I liked the movie a lot.

Again I would disagree.  I think Renner is underrated and that Amy trends the other direction.  She rarely has good chemistry with her opposite.

[A24 4,326]

She failed to bring Louis Lane to life and we will never forgive her for that. 

[Naïve Old Fart 9,498]

Er...Alex...I hate to say this, but it's, er, Lois Lane.

 

On 8/1/2019 at 4:17 PM, Brundlefly said:

Arrival is better.

I prefer VOULEZ VOUS.

 

On 8/1/2019 at 4:29 PM, Disco Stu said:

Amy Adams is a distractingly better actor than Jeremy Renner, but I liked the movie a lot.

She was good, in DOUBT.

[A24 4,326]

7 hours ago, Richard said:

 

She was good, in DOUBT.

 

Yes.

 

7 hours ago, Richard said:

Er...Alex...I hate to say this, but it's, er, Lois Lane.

 

 

My brain knows it's Lois but my fingers automatically write Louis. 

[#SnowyVernalSpringsEternal 10,265]

4 hours ago, Alexcremers said:

 

My brain knows it's Lois but my fingers automatically write Louis. 

 

 

[Naïve Old Fart 9,498]

Did you have to?

[Oomoog the Ecstatic 314]

Blade Runner 2049 is insane and one of my favorite movies to this day, but I actually fell asleep during Arrival both times I watched it. I think the best films often take their time to tell a story, even a more moderate example like the introduction of Star Wars IV, but the depth:slowness ratio of Arrival wasn't up to my Lynch standards. I think I got the majority of the film though, decent experience.