PHENOMENALITY: *marvelous*
MYTHICITY: *poor*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *sociological,
cosmological*
“We’re meant to die—it’s what
makes anything about us matter.”—the titular star of AEON FLUX.
The original “Aeon Flux” cartoons,
produced in the 1990s by Peter Chung for MTV’s “Liquid Television,” became
popular with viewers chiefly through their feel of enigmatic unpredictability. The scantily garbed Aeon, an inhabitant of a
far-future civilization, engaged in assorted obscure missions, sometimes
including assassination, against the forces of city-ruler Trevor Goodchild, sort
of a futuristic Nero, albeit rendered with more irony. On occasion Aeon was “killed,” but came to
life by the next episode.
I haven’t viewed the original
cartoons—which I found pleasant, but hardly among my favorites—in many years. I
don’t know what if any story-content the film borrowed from the cartoons, nor
do I know whether or not I would judge the cartoon Aeon’s exploits to be more
allied to the formal Fryean category of irony, or that of adventure.
There’s no such doubt in the case
of this Aeon Flux-- directed by Karyn Kusama just after her writer-director breakout success with GIRLFIGHT-- and certainly no irony. A quick summing-up tells us that in the very
near future (2011, actually) most of the population will die off of a malady
called “the Industrial Disease.” The
survivors of humanity now occupy a sole city called Bregna, ruled by scientist
Trevor Goodchild , his brother Oren and an assortment of other government
officials. Their power is absolute, but
the most distressing aspect of their rule is the way citizens mysteriously
disappear. Discontent breeds a group of
rebels, “the Monicans,” and among their number is athletic super-assassin Aeon
Flux. She was apparently originally a
citizen, for she keeps contact with her sister, a non-rebel named Una, but
unlike Una Aeon chose to fight the power.
Aeon’s Monican superiors give the
order to “hit” Trevor at last, and with her special skills she invades the
ruler’s sanctum and fights her way to the supposed tyrant. However, she finds herself unable to kill
him, while for his part he recognizes her, calling her by a name, “Katherine,”
which she does not know. She escapes,
only to find that her sister Una has been spirited away.
Following many rather low-energy
adventures, Aeon learns the truth from Trevor: the original survivors of the
plague were sterile. Trevor decided that, rather than allowing the human race
to die out, he would keep it alive through cloning, but without the
population’s knowledge. A citizen would
be harvested and killed as needed, and his DNA would be used to produce a
clone-fetus, which would be introduced into the womb of a likely mother. Thus the
population of Bregna has been recapitulated over seven generations, including
Trevor himself, though each of his clone-rebirths is educated to become a new
Trevor Goodchild.
Trevor meant for the
clone-technique to serve as a stopgap until he found a cure to the
sterility, but his brother Oren desires to perpetuate the Goodchild rule for
eternity. Moreover, Oren makes a
discovery that he conceals from Trevor: real pregnancies have started to
appear, as nature triumphs over the Industrial Disease. Aeon’s sister Una was specifically harvested
because she was one of these. Aeon’s
rebel allies cast her out for failing to kill Trevor, so that the heroine and
her ally are almost alone, caught between the hostile Monicans and Oren’s
corrupt hegemony.
The AEON film puts forth a
tolerable but essentially routine iteration of the “ragtag rebels vs. corrupt
rulers” plotline. Direction and design
never aspire to equal the stylish flair of Peter Chung’s cartoons, and the
script lacks either Chung’s irony or even much in the way of comic
touches. There’s a very basic
existential proposition suggested in the script, as seen by the dialogue-line
cited above, to the effect that mortal humans were meant to die in order to
make their limited lives meaningful. However, it’s too heavy a thought for the
banal script to support.
As for the less than compelling
mystery of Aeon’s origins, she turns out to be a clone of Katherine, wife of
the original Trevor. Katherine became sick
during the original crisis, but Oren, who feared her ability to influence
Trevor, ordered her DNA destroyed for good.
Another member of the hierarchy defied that order and kept Aeon’s DNA
for future use. It’s not articulated as
to why seven generations went by before Aeon was re-created, or why her
insider-ally didn’t tell her any of her complicated history.
Most unforgiveable in an
adventure-film, the action-sequences are perfunctory at best. Theron, a skilled actress, can’t be faulted
for not giving audiences the captivating, insouciant Aeon from Chung’s
cartoon. But she plays the role
emphasizing the character’s emotional vulnerability, and so isn’t able to bring
any real heroic mojo to the role, compared to (say) Milla Jovavich in the
RESIDENT EVIL films. Theron's best moment is
her astonishment when she sees her grown sister Una re-incarnated as a
clone-baby. But her scenes as a heroic
“femme formidable” are far from standout.
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