As a cinephile who has spent countless hours immersed in the cinematic world, I found myself intrigued by the concept of “Here,” a movie that unfolds within the confines of a single room over the course of several eras. The idea was innovative and promised a unique viewing experience, one that would challenge the norms of storytelling.
Robert Zemeckis boasts an exceptionally diverse collection of films, spanning from the widely popular “Back to the Future” franchise to his unique motion capture adaptation of “A Christmas Carol.” Throughout his career, Zemeckis has consistently demonstrated a keen interest in utilizing and pioneering new technology in filmmaking. His work often showcases a fascination with incorporating or introducing groundbreaking advancements in cinema.
Robert Zemeckis’ recent exploration delves into this realm with a production titled “Here“, utilizing real-time de-aging AI technology on actors known as Metaphysic Live, a departure from the traditional post-production method. However, this isn’t the only technological surprise that “Here” offers. The film is set entirely within a single room and from a single camera angle (with one exception, to be clarified later). Despite these cinematic advancements, the reception of “Here” among critics and audiences has been less than positive. One frequently mentioned reason for the negative response is the movie’s conclusion. So, what happens at the end of “Here“, and does it live up to its infamous reputation?
Here We Go Again
In this film, I find myself working alongside old friends Tom Hanks and Robin Wright once more, a duo that graced the screen in our timeless masterpiece, “Forrest Gump.” This movie follows Forrest (Hanks), as he embarks on a heartwarming journey of love with Jenny (Wright) and experiences an incredible array of life’s adventures. From the tender beginnings to the tumultuous highs and lows, “Forrest Gump” beautifully captures America’s spirit during crucial historical periods from the 50s to the 70s, offering a vivid tapestry of our nation’s journey.
Viewers swiftly pointed out the similarities between the two productions once trailers for the latter were unveiled earlier this year. It appears that the comparison is deliberate, on the part of both Zemeckis and the marketing team. The film, titled Here, has visual echoes of Forrest Gump at certain moments (both Tom Hanks and Robin Wright portray younger and older versions of themselves, as do other key cast members), and it also shares a thematic resemblance in that both films aim to explore a broad range of historical events. Additionally, Here and Forrest Gump share the same screenwriter, Eric Roth.
What’s Going on Here?
This narrative unfolds a series of tales connected to a single residence, inhabited by diverse individuals across different eras, ranging from dinosaur times to the current day. The tale is presented in a non-chronological manner, employing on-screen panels that frequently depict multiple timelines simultaneously. The story primarily revolves around the Young family, who settled into the house post-World War II. After the war’s end, the married couple Al and Rose Young (portrayed by Paul Bettany and Kelly Reilly) take up residence in the home.
The Young family consists of three kids: Richard, Elizabeth, and Jimmy. As Richard matures into a teenager, he starts dating Margaret (formerly known as Wright). When Richard impregnates Margaret, they both decide to put their aspirations for careers in graphic arts and law on hold and focus on raising the child at home with assistance from Al and Rose. Later, Richard and Margaret tie the knot in their shared residence, and it’s here that Margaret goes into labor early and gives birth to their daughter, Vanessa, too.
Over the course of time, the strain of too many residents under one roof became increasingly palpable, with me, Margaret, persistently urging Richard for a separate living space. He’d often cite economic woes as his reason. Our brother Al, unfortunately, found solace in alcohol, a habit that reached its peak until the day Rose suffered a stroke. This life-altering event prompted Al to reform his ways. In due time, Al decided to relinquish ownership of the house to Richard and Margaret. The three of us, along with Rose, continued to reside together in the home until her passing. Our sister Vanessa eventually graduated from college, left our nest, and ventured out on her own. Eventually, Richard and Margaret chose to part ways legally. With Al falling ill, Richard took on the role of caretaker within our home until his passing as well. In the end, Richard made the decision to sell the house we once called home.
Throughout the movie’s narrative, various characters and time periods are introduced:
To conclude, in the present times, a pair called Helen and Devon, along with their child Justin, settle into their residence. Amidst the ongoing COVID-19 pandemic, they reside in this home, also experiencing the unfortunate loss of their housekeeper, Raquel, to the same pandemic.
Here Is How it Ends
Currently, Richard and Margaret step into their home, now arranged for an open house. Richard offers his arm to Margaret, who is battling dementia. Richard recounts their past life within these walls and the friends they welcomed. Although Margaret appears to have forgotten everything, even Vanessa, her memory resurfaces when Richard speaks of a time when Vanessa misplaced a blue ribbon as a child. Touched by this memory, she grows emotional and whispers, “I love it here,” as the camera shifts focus for the first time in the movie.
Initially, the camera remains still before moving towards the rear section of the house, revealing an ordinary and vacant room along with a kitchen. Subsequently, it moves outside and beyond to display the entire house’s exterior. Finally, the camera pans out even more, giving a bird’s-eye view from atop the William Franklin house while a hummingbird flies past on the screen.
There Is Not Much Here
In the finale of “Here,” there’s a slight deviation from the repeated one-shot sequence. Audience members might anticipate this shift to bring about some thematic or story development. However, instead, it just offers a broader view of the house. There isn’t much new information or unexpected turns presented. The camera gives us a longer look at what we presumed was already there. Although it may not be particularly thrilling, it’s clear that Zemeckis intended something specific with this decision. Given that Margaret’s statement “I love it here” is triggered by her dementia and serves as the impetus for this change, it appears that Zemeckis is showing us the house from Margaret’s perspective. As Margaret’s memories grow clearer, the viewers are granted more insight into the house.
In simpler, more captivating terms: The hummingbird, a recurring figure even before the house was constructed, seems to symbolize the profound link between different lives across time through nature. Viewers might ponder if there’s something deeper to it. However, the film’s conclusion carries the same straightforwardness, hinting that the creatures living here are all interconnected, and perhaps, there is more to the house than what was shown in a single scene.
In contrast to Forest Gump, which elicits deep emotions, this film unfortunately lacks a strong emotional impact. Although it boasts multiple main characters, the uneven distribution of screen time among them makes it challenging to become emotionally invested in any specific storyline. The concept of a movie confined to a single room and perspective is intriguing theoretically, but its execution falls short.
The application of artificial intelligence, despite being somewhat intimidating, showcases Zemeckis’ continued pioneering spirit in cinema. This film, titled “Here”, possesses a certain warmth and commendable acting from its ensemble cast. Nevertheless, it falls short by failing to fully capture the intrigue required to maintain interest for a full 104 minutes. The conclusion of “Here” is sensible, but lacks the emotional resonance typically expected.
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2024-11-10 20:32