When a filmmaker ventures down the wormhole of time
travel as a narrative device, he’s setting his film up to be prodded and picked
apart in the minutest detail to discover all the flaws and inconsistencies. The
best time travel movies tend to be the ones that have some intelligence about
the process and implications of traveling to the past, but mostly they succeed
when the time travel becomes secondary to other elements in the film.
Take a film like Back
to the Future, for example. Yes, without the time travel there is no story,
but the breakneck pace, the good writing, the funny jokes all take precedence
over the fact of Marty going 30 years into the past. In the case of Rian
Johnson’s Looper, I could talk about
a paradox that unravels the entire story if we follow logical consistency, but
we’re dealing with a science fiction action film that relies on something that
doesn’t exist and is only theoretically possible in terms of traveling forward
in time. In Johnson’s film, the only time travel happens backward.
You see, the main action takes place in 2044 when time
travel has not yet been invented. But thirty years from that time it has been
and it’s also been outlawed. It is employed only by criminal organizations that
use it as a means of disposing of unwanted people. It turns out concealing
evidence of a murder is very difficult in 2074, so these organizations use
loopers in the past to carry out assassinations. They wait at a predetermined
time and place with their special guns known as blunderbusses (a kind of
shotgun that blows everything apart within fifteen yards), pull the trigger and
collect the stacks of silver bricks attached to the body. When the body is
laden with gold bricks, they know they have closed their loop and their
contract is finished. A closed loop means the looper has killed his future
self, who has been sent back for assassination so as not to leave any loose
ends.
Joseph Gordon-Levitt plays Joe, a looper who comments on the
lack of forward-thinking ability in his fellow loopers. Sure, they acquire
great riches, but they know the 30 year life clock is ticking once they get
that gold. So we know what’s at stake should someone allow his loop to go free,
Joe’s best friend Seth (a wiry and nervous Paul Dano) does just that. The
criminal organization has people in 2044, led by Abe (Jeff Daniels) to hunt
Seth down. When Abe calls for “the doctor,” you know this can’t be good. When
old Seth starts having body parts disappear, we know that letting your loop go
is disastrous and we know what’s coming. Joe continues his dirty work until one
day he’s meant to close his loop, but he lets his older self get away.
Bruce Willis plays old Joe. Willis is Willis, but the
real acting on display is from Gordon-Levitt who, with the aid of subtle facial
prosthetics to make him resemble a young Bruce Willis, has all the mannerisms
and vocal patterns perfected. When you see these two actors in a scene together
you realize just how good Gordon-Levitt really is. And it’s a testament to the
quality of the filmmaking and the acting that in a diner scene with the two
Joes in a classic two-shot, I kept thinking of the old technique of a split
screen where one actor plays a dual role and has to appear on screen with himself.
Johnson’s first feature film, Brick, is one of my favorites of the last decade. It’s a 1940s
detective noir set in a high school. His second feature was equally ambitious
and creative, but lacking any real verve. With Looper he should really solidify his position as a unique voice in
American filmmaking. This is a big style Hollywood action film that isn’t
afraid to ask its audience to think. It’s an amazingly refreshing break from
the bombast of Transformers and other
high rent disasters. One of the marvelous things he does in Looper is to create two different
characters out of the same character and make them both protagonists in the
same story even though their goals are entirely at odds with one another. Young
Joe must kill his older self while old Joe has another plan in mind.
We get the chance to follow old Joe from the time he is
Gordon-Levitt. We see the loop assassination scene take place a second time,
but this time he carries out his duty. Then he ages in a montage sequence until
he becomes Willis, continues a life of crime and drug use, moves to China and
falls in love. Then they come for him, but he overcomes his attackers and goes
back to change history. His mission is to rid the world of the child who will
grow up to become the Rainmaker, a fabled crime syndicate leader who possesses
some kind of power to control all organized crime across several cities. Old
Joe figures if he can kill the child Rainmaker, he can save the loopers and his
wife, who was killed in the crossfire in the future.
If this all sounds very confusing, that’s because it is. Looper is, at times, mind-boggling and
we’re not even at the halfway mark. Gordon-Levitt winds up at a farmhouse
staying with a young woman named Sara (a no nonsense Emily Blunt) whose son Cid
might be one of old Joe’s targets. This calls to mind the age old philosophical
quandary: if you could travel back in time and kill the baby Adolf Hitler,
would you do it? Although the question lurks beneath the surface, the film is
not all that interested in exploring it. It’s more concerned with the idea that
time is cyclical and that history repeats itself. I find this idea much more
compelling especially as, given the current world economic climate, the stage
is set in Europe for further calamities similar to those carried by
(incidentally) Adolf Hitler. I see history repeating itself in ways that the
world proudly announced, “Never again,” after World War II. History does repeat
itself and we don’t, as a society, learn from our mistakes. So what can young
Joe do to stop the cycle of violence that, for him, began with his parents abandoning
him so that he might turn to a life of crime?
Even if the very story in Looper weren’t endlessly entertaining, the film would remain one of
the best looking films of recent years. Like Christopher Nolan, Johnson relies
as little as possible on CGI. Most, if not all, of the special effects look
authentic. Nothing here was done on the cheap. This is a first rate action
thriller. And it just doesn’t matter if some aspects of the time travel don’t
make sense. Johnson pulls you into his story and doesn’t let go until it’s
over. Even then it will retain its grip on you for some time.
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