Review of Dark City (1998) by Andrewburge — 30 Nov 2018

Alex Proyas' 'Dark City' is a tough film to review. Mainly because it has a few obvious imperfections, yet it also rises above standard conventions and perceived normality through its director's observational concept.

In a way, much like The Strangers in the film, Proyas acts as an omnipotent god, creating clearly defined set-pieces and putting its characters through awkward interactions. These nearly poetic ways in which the characters interact with each other might be seen as unnatural, but to me, its what makes this film a masterpiece. Alex Proyas created a mysterious underworld and we are enclosed in its well-defined borders, much like the rat in the labyrinth in the film, or, more so, like its characters.

This film is so beyond normality that we cannot perceive it through our pre-defined societal standards. The entire film takes place in this "dark city" and while the characters ask each other where were they taken from there is never no mention of Earth or anything which truly connect us to our reality.

This is one of the great powers of this film. It is so elevated and so absorbed in its sci-fi theme and atmosphere that it requires an open mind. But it is also inviting. From a visual point of view, this is not great; it is an exemplary tour-de-force. Mixing neo-noir drama with a perfect amount of sci-fi mystery really creates a stylish, sinister, depressive and dark visual tone with a unique aesthetic.

By the time we get closer to the end, everything is revealed to us. But there is no satisfaction. Thinking that this all started in a relatively basic bathroom and then ending on a spaceship without going anywhere is a mind-blowing transition. But what cements this even more as a masterpiece is its approach to human nature and thought. Are we defined by our memories or do we rise above them? It is a relatively common philosophical question, but seeing it unfold in front of our eyes with this theatrical, otherworldly and elegant dialogue and the booming vibrating score really imprints the idea into our minds.

By the ending, I realized that I know absolutely nothing about all the characters I lived with for 90 minutes simply because the entire film revolves around a hell which is devout of anything truly real and palpable. Their memories have been changed so many times that they don't know anything about them. Like Dr. Daniel P. Schreber said, we no longer know "what might have been" - that line hit hard because at that point I realized that everything is lost.

Proyas has said that he appreciates Greek mythology. And this film has many ideas inspired from it. The fact that every time the clocks ticks 12, the characters' memories are changed. But we do not know whether its 12 AM or PM. The sun never shines. This mystery is all-engulfing and mind-boggling. Much like the Titan Prometheus, the torment repeats over and over. The only spark of true humanity seems to be Emma Murdoch (Jennifer Connelly). She is the only one which we feel truly experiences love when he kisses John Murdoch (Rufus Sewell).

What I realized is that while we talk and analyze this film, its characters, their behavior, we are missing the point. This is a film not to be analyzed, but experienced. There is really nothing to analyze, after all. The characters, their interactions? How? We don't even know them... hell, we don't even know their true names...