OK, I know that technically I’ve already done my scheduled fortnight, but shush; at time of writing I only saw this yesterday, and wanted to get my thoughts off ma chest.
This film is… different, but then again I did kinda expect it to be. Psychological thrillers are rarely simple affairs, but most tend to generate their weirdness from either a confusing, tangential plot or by employing every trick of cinematography in the book in an effort to mess with your brain. Trance does neither of these things, but nonetheless this is most certainly not your average mid-afternoon popcorn film.
The plot centres around an art heist; our main protagonist is Simon (James McAvoy), a young art auctioneer who gets himself mixed up in a plot to rob a Goya painting, ‘Witches In The Air’. However, for reasons that can’t really be explained without giving away any spoilers (the film’s somewhat odd storytelling structure makes it a veritable spoiler minefield), and in some respects are never fully explained at all, the painting manages to go missing. Blame for this falls squarely on Simon, who is suffering that old cinematic trope of amnesia, leading him to not remember what has happened to it. Indeed, one of the characters even puts in a subtle meta-commentary to this effect- but I’m getting sidetracked. Suffice it to say that the group, or more specifically their leader Frank (Vincent Cassel) pick hypnosis as a potential solution; and here the word ‘psychological’ rapidly prefixes itself onto the tag of ‘thriller’.
Amnesia as a plot device is a cliché seemingly as old as the hills, but here it gets the Danny Boyle treatment, and a subsequent new lease of life. Other reviewers have frequently compared the film to Inception for its superficially similar subject matter of the human mind, and it could be argued that what Inception did with dreams Trance attempts to do with memory. However, the comparison is not an especially valid one; whereas Inception was a fast-paced action film that perfectly showcased Christopher Nolan’s talent for scope and grand gestures, Trance is a far smaller affair that plays to Boyle’s strengths of bringing out the little moments. Here, the concept of memory is not only used as the core plot concept, but after being taken as it stands, it is summarily twisted, bent, lost, found, stamped all over, made to run around in circles for three hours, soaked, wrung out to dry and then left in a tangled mess that renders the simplicity of the original concept almost unrecognisable. Suffice it to say that this film most certainly does not take the obvious route with its subject matter.
Tinkering on the minute level is also evident in the film’s plot, an equally twisted affair that makes a marked departure for the more straightline storytelling of the other Boyle films I’ve seen. This might have something to do that this is the first of Boyle’s films for a while not to be based on a pre-existing book (see Trainspotting, Millions, Slumdog Millionaire & 127 Hours) have been based on screenplays adapted from existing books, but here we have an entirely fresh script, co-written by Joe Ahearne and John Hodge. The latter, I glean from a little research, was something of a Boyle regular during his early career (this is their fifth film together), and some stylistic similarities between this and their most famous collaboration (Trainspotting) become clear once you realise the link exists.
For the film’s first hour, Trance doesn’t offer much that could be said to be special; it’s an unconventional but perfectly understandable film that is written, directed and acted well, but doesn’t seem like it’s going to break any major rules. The first and second acts establish a few character relationships, a few ideas that look like they’re going to become important later on, nothing especially out of the ordinary. Indeed, if you’re anything like me, then you’ll think you’ve figured out what ‘The Big Twist’ will be somewhere around the hour mark, and will be just about ready to start feeling smug when the third act kicks in. And kick in it does; not only are the pace and tension each cranked up several notches, but the plot’s initial strangeness begins to give way to mayhem as chronology shifts back and forth, the worlds of hypnosis and reality begin to converge and the film’s themes and story really begin to twist themselves into the aforementioned tangles. Everything made out to be some important concept, a feature that we are sure will turn out to be important, is left by the wayside, and all the small details, slipped in so subtly and hidden so well, take on new significance- a peculiar reversal that, when I think about it, I’m surprised ever worked. That it does is testament to the way every contributor to the film begins to show their class during this period; James McAvoy puts the finishing touches on a stunningly versatile acting performance that covers just about every emotion and character trope known to humankind, whilst co-star Rosario Dawson (who plays hypnotherapist Elizabeth Lamb) begins to show the character beneath all the subtle woman-of-mystery stuff from the second act. Boyle too puts himself on show; all the careful execution of the first two acts, all the subtlety and false leads, all the things only hinted at through the minutiae of character behaviour, all are finally paid off in his chaotic finale, and it shows his skill off marvellously.
I can appreciate an awful lot of things about Trance. I can appreciate the fantastic acting, I can appreciate the clever, intriguing storytelling, I can certainly appreciate the directorial skill. But somehow… I find I can’t quite enjoy it. Maybe it’s something to do with having unsympathetic characters, nobody we can ever think of as a hero (or, for that matter, antihero), maybe it’s that the plot doesn’t really have any consistent underlying emotional scenes, or maybe it’s just that all the things that really matter by the end are not given enough time to make themselves feel meaningful, amidst the mayhem of the third act. Honestly, I’m not quite sure, but it’s a shame, frankly; Trance is smart, quirky, exceptionally well done and tells a story like nothing else. I only wish it could feel meaningful too.
One last thing; how in the name of hell this film was given a 15 rating I have no idea. I don’t really have an opinion on the BBFC rating system, whether it’s appropriate and so forth, but I do have an opinion that if you have an 18 rating and a film with torture, nudity about as blatant as it comes, rather graphic gore, enough corpses to keep a coroner busy for a month and it doesn’t get it… well what the hell is an 18 then?
OK, I quite liked doing this, so I think I might make film reviews a bit more of a regular thing. I might even get round to making a category for them. Might.