Interstellar: Is Science Really Divine in science fiction?

Interstellar is science fiction. It is not something of a space type of futuristic fantasy. It’s what the term “science fiction” means or represents. It represents a different time in the world where space travel is possible yet  dangerous and uncertain. The Spaceships aren’t firing lasers, zipping from planet to planet only to find a whole new world.

Interstellar: Finding A New World

Main character travels across long distances and use a dangerous and unpredictable method of entering a wormhole, but not making the jump to hyperspace. In this situation it results to some effects happening with time. They call it time dilation. This comes into effect in the presence of a black hole. This type of movie is not like the Star Trek, or Star Wars, or Studio Ghibli‘s Castle in The Sky, and anyone who watches it with that type of expectations will be a bit disappointed. It’s more like Gravity in which it appreciates science rather than ignoring the rules of reality as we understand them.

The Interstellar movie is almost similar to 2001: A Space Odyssey. There’s a good reason for that. Christopher Nolan uses Stanley Kubrick’s masterpiece as a template. Hans Zimmer’s score is no less crucial to Interstellar than “Also Sprach Zarathustra” was to 2001. Yet, this is no proof made for Kubrick’s film; in fact, it goes far afield. There’s heroism, a la The Right Stuff. It’s also a warmer, more emotional experience – less stately and abstruse. In fact, found at the core of this big-budget adventure is the most relatable thing imaginable. The feelings of love and trust that bind father and daughter.

Interstellar scene that depict father and daughter relationship

A fusion of Kubrick and Spielberg

Interstellar opens at a modern-day futuristic time in America. Although it doesn’t show the year it was depicted. It’s probably around 2050. The world now has fallen victim to famine because of overpopulation. Blight is killing crops, creating massive dust storms. With nitrogen rising up to the atmosphere, total asphyxiation is the most definite endgame. Earth as a bastion of humanity is doomed. Former NASA engineer and test pilot Cooper owns acres of corn that he farms along with his family: son Tom, daughter Murph, and father-in-law Donald.

They are all Drawn by almost supernatural means to a chain-link fence around a super-secret location. Cooper finds himself face-to-face with the remains of his former employee. Now there comes an underground think-tank dedicated to saving the human race. Led by Professor Brand, NASA has devised some plans to ensure survival to the human existence. Plan A is to create a massive space vehicle to transport as many humans as possible into outer space. Plan B is to involve using frozen embryos to colonize a distant world. Now the thing is there is a problem with Plan A – namely, overcoming gravity to launch the massive space ship – but Brand is convinced he can solve the necessary equations that will make this possible.
Cooper learns that there is a wormhole that has appeared in space near Saturn, probably by the aliens of great minds with entities of great intelligence intent upon giving humanity path of survival.

Hope for Humanity

Just a decade ago, astronauts were sent to space to scout a potential habitable planets for humans to lie. Now another craft needs to make the journey to determine humankind’s final destination. Mindful that his children’s future is at stake, Cooper agrees to pilot the craft. A small crew of four: Brand’s daughter, Amelia, scientists Doyle and Romilly and the sardonic robot TARS, who recalls HAL 9000 accompanied him. Murph is resentful of her father for abandoning her. A wave of anger she nurses into adulthood when she becomes Brand’s second-in-charge working for the same entity that took her father away from her.

Like Contact, Interstellar displays a more complex physics accessible to laymen. The dialogue is somehow dense but it never becomes impenetrable. There are some odd passages, such as one in which Cooper and Amelia discuss the meaning of “love”.

The movie remains Earthbound for its first 45 minutes showing a different type of approach with the way the planet is being depicted on day-to-day struggles for those who survive in this blasted, inhospitable future. Most importantly, however, this part of the film establishes the closeness of the relationship between Cooper and Murph and introduces the mystery of “them” – the mysterious “ghosts” who will have a role to play for the rest of the movie. With this it shows that at the end of the play, Cooper has a role to play to enforce the philosophy that says “the needs of the many outweigh the needs of the few.” He clearly states this to Murph that his word is bond and he will return, knowing he might not keep that promise.

Directing

Once in space, the white knuckle moments begin. Limiting the use of CGI, Nolan relies on practical effects to craft a movie that feels more real. Some actions happen in space which makes it more unpredictable. The movie takes some chances with its endgame, which resolves a lot of plot points but at times seems rushed. Interstellar becomes more complex during the final 20 minutes and even those who pay attention will be left wondering how unpredictable it is.

The movie is nearly an entire three hours but there’s enough story here for something a lot longer. In conclusion, Nolan accomplishes this, ensuring there is a blistering pace during Interstellar’s sections while including the cross-cutting between Earth and space during a powerful “fire and ice” sequence.

Visually, Interstellar looks great. Nolan uses some special effects technology (except, perhaps, old-age makeup) and uses them to their best. Hans Zimmer with the music delivers an operatic score that, although occasionally drowning out the dialogue (more a mixing issue than a scoring one), makes it to an overall experience. Sound is important to Interstellar – when the rocket lifts off around the 45-minute mark, the bass shakes the entire theatre.

Remarkable Cast

I would say, portraying a father figure, McConaughey has had a tremendous year. He won a Golden Globe and an Oscar for the role. Interstellar the Movie does sure looks like an Academy recognition: he’s one of the main actors that make this movie to be good . He’s the human factor in a vast universe. His love for his daughter and his pain when he acknowledges her despair invests this movie with a warmth and feeling that no previous Nolan movie can boast. The supporting cast, which includes Anne Hathaway, Jessica Chastain, and Michael Caine, is strong, but McConaughey represents the heart and soul of Interstellar.

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