Constantine a Provocative Interpretation of Today's World

06/25/2005

By Joseph Howe

Constantine. Francis Lawrence. 2005.

 

History buffs will perhaps be disappointed to learn that Constantine is not the title of a new Gladiator film, nor the story of the famous Roman emperor, but the story of John Constantine’s struggle to redeem himself from a suicide attempt before he dies of lung cancer.  Now throw in the fact that he has been revived every time he has died and is using his knowledge of the afterlife to work as exorcist in order earn bonus points with God, and you have the basic story.  Not to insinuate that the plot’s climax at the point the Antichrist is about to enter the world is disposable, but the story really could have gone anywhere within the confines of the above mentioned storylines and been equally enjoyable. 

Not that the film needs my mark of approval, for Constantine, Keanu Reeves’ latest big budget, special effects vehicle, has the built-in advantage of appealing to several audiences. There are of course those long time fans of the comic book Hellblazer upon which the film is based.  Certainly one must not forget those seeking yet another sequel to The Matrix, nor those such as myself who are drawn to the spiritual themes of the film.  

Not being familiar with the comic book Hellblazer, I must admit that I cannot truly engage in this argument.  I can say that every individual I have consulted has commented that the film is lacking in every detail.  Apparently they wanted Constantine himself to reflect the comic’s blonde-headed British hero.  Sorry, Reeves doesn’t really fit that part.  The film’s detractors still must admit that not since Unbreakable, however, has another film gone so far out of its way to reflect the comic book scheme behind it.  Several of Constantine’s scenes are framed in the square, block pattern that is so much a part of comic book art.  A notable scene includes an early frame in which Constantine encounters the character Gabriel, played to perfection by Tilda Swinton.  The mantle piece behind them, even the cruciform pattern of the room itself, lends the square frame pattern to the scene.  Similar techniques are scattered throughout the film, and a treat for those interested in the technical application of art to filmmaking. 

This scene may have disturbed those so intent on finding a continuation of Reeves’ Matrix persona.  Unfortunately for them, Reeves actually acts in this film.  He pulls off the subtle desperation underlying Constantine’s tough exterior.  In the aforementioned scene, Reeves truly does seem to care about his soul, and evinces a rough anger fueled by fear that I have not seen in much of his work before.  The character is complex, both angry with God and desperate for His help.  As such, Constantine is the first film that shows that Reeves may be equally layered.  Rachel Weisz as the film’s leading lady counteracts Reeves’ subtlety with a straightforward style that works in this context.  It not only reflects the worldview of her character but also adds to the chemistry between the actors onscreen. 

And of course, the fans of the very sleek Matrix films will be disappointed by the gritty feel of this film. The gritty look adds a nice touch to the film and, more importantly, plays an important role in the spiritual themes of the movie.  The best line of the film, other than super-sexy Gavin Rossdale’s “Finger licking good” is Tilda Swinton’s “You’re fucked.” Although the film fails to clarify if this is the archangel Gabriel, who is famous for announcing the birth of Christ to Mary, it would appear that these two entities could not be the same.  A wager between God and Satan has made it impossible for pure demons or angels to interfere on Earth, thus making it unlikely the archangel Gabriel could have such a prominent role in the film.  Yet Constantine’s visual effects are best used to accentuate the nature of the half-angels and half-demons roaming the Earth.  The story develops Hell well, and even gives it its own Satanic Bible.  The interplay between the withdrawal of the supernatural forces and the immanence of half-breed angles and demons gives is provocative interpretation of today’s world.  Constantine’s strength may also be its fatal weakness: the implications that tainted divine intervention in the world is fascinating, yet too broad to be fully covered by a script that seems to not truly reflect the heart of the film.