After last year’s Gravity introduced technological advances that led to cinematic magic on the screen, I couldn’t wait to see Interstellar, this year’s much-heralded space flick. Helmed by master action director Christopher Nolan and with a cast led by last year’s Oscar winners Matthew McConaughey and Anne Hathaway and Oscar nominee Jessica Chastain, it had every reason to be, well, stellar. That it has taken me two weeks to write this review might give you a hint as to my reaction.
Interstellar is set in a not-so-dystopian future when the military industrial complex has been disbanded, machines and computers are no longer being manufactured, the space program has been closed for refusing to drop bombs, and textbooks proclaim that the lunar landing was a hoax. Anarchy has not led to chaos, however. No dictator enforces tyrannical rule, nor have marauding gangs taken over à la Mad Max. Neighbors play baseball, farmers plant corn, and life seems idyllic — except for the fact that corn is the only crop that will still grow, and gigantic clouds of dirt rivaling those of the Dust Bowl of the 1930s regularly blow through town. Yet no one on earth seems remotely aware of the impending extinction or even has the gumption to move to another part of the country. At least the Okies packed the rocking chair on top of the truck and moved to California to find better fields and opportunities.
I anticipated a satisfying conflict between authority and autonomy, science and ignorance. But that part of the film is short-lived.
A few souls do remember the old days. Cooper (McConaughey), a farmer who used to be a pilot, wistfully laments to his children, Murphy (Mackenzie Foy) and Tom (Timothee Chalamet), “There was a time when we were explorers and pioneers. Now we’re just caretakers.” When Murphy’s teacher calls Coop to task for telling Murphy that the moon landing really did happen, Coop rightly asserts his authority as a father to teach her what he knows to be true. Freedom of thought, if not intellectual honesty, seems reasonably alive and well in the future, according to this film. As I settled in to watch it unfold, I anticipated a satisfying conflict between authority and autonomy, science and ignorance.
But that part of the film is short-lived. Through pseudo-supernatural means, Coop and Murph are led to an underground research lab where former NASA rocket scientists have been working on a project to discover a compatible planet in outer space. They hope to transport the remnant of humankind there. Within hours Cooper is pressed into service as the only pilot capable of flying the rocket, and a couple of days later he is blasting off. Tearfully he hugs his children goodbye, knowing that, because of the effects of traveling beyond the speed of light, he is likely to be much younger than they are when he returns. Murphy is understandably despondent and refuses to say goodbye even as Coop drives away.
Murphy’s refusal to talk to her father is the only dramatic conflict we encounter inthe first half of this nearly three-hour film. No one is hoarding or looting, and everyone seems calm. “The last to starve will be the first to suffocate,” someone shrugs about their future, but no one seems to be in a panic about it. They aren’t even motivated to move to a less dusty area where the climate might still be conducive to agriculture. Without dramatic conflict, the film has about as much tension as a science documentary.
That all changes in the second half of the film, when our space travelers encounter catastrophic forces of nature, mortal combat with crazed enemies, devastating rocket explosions, split-second rescues, and a time-travel sequence that, while implausible, is inventive, suspenseful, and exciting. For the last hour of the film I was right where I wanted to be, on the edge of my seat. But it took way too long to get there.
Ultimately Interstellar is more about an irrational father-daughter dynamic than it is about space travel or saving the world. It suffers from serious plot holes, unresolved character discrepancies, and weak dramatic conflict. The special effects are pretty special, and the second half makes the film worth seeing once. But I wouldn’t want to sit through the first half twice.