After witnessing a rather unsatisfying taste of Robin Wright in Adore, my confidence levels for The Congress
were actually pretty high before heading into see the film. With a
promising trailer that unveiled an intriguing mix of real-life and
animation, coupled with a rather fantastic cast, this was a film that
ticked plenty of boxes, but ultimately it does lose its appeal as the
duration goes on.
Based on the novel The Futurological Congress by Stanislaw Lem, Ari Folman's
The Congress sees actress Robin Wright coming towards the end of her
career as an actress. No longer wanted for big starring roles and
accused of making the wrong choices throughout most of her acting
career, Wright is almost forced into a deal with film company Miramount,
meaning her physical acting days will be over.
Despite this, the
company will be digitising her image and using it for films in many
years to come, with her reaping the rewards, despite not actually
physically playing the parts herself. 20 years pass and Wright's
contract is up, meaning she has to attend a congress that is taking
place in a vibrant and magical animated world. Upon arrival, things
aren't quite what she expects and her whole life is turned upside down.
The
Congress is very much a film that could be split into two in one way or
another. With the first half focusing on the real world in which
Wright, her family and her agent (Harvey Keitel) live,
the second is a journey through the resplendent and stunning animated
world which is ever-evolving. On paper, it certainly paints a lovely
picture and, if anything, the idea of being immersed into a magical
animated world is the most appealing of the two. Unfortunately, The
Congress flips the rule book and is instead more favourable when in the
real world.
It
is in the real world that we can actually fully relate to the
characters so important to the story itself. Robin Wright's now
vulnerable and struggling actress is at her best when conveying the
emotions that come with the changing film environment and her agent in
Harvey Keitel does a splendid job in producing a meaningful and
convincing agent out for the best for both him and his client. Also Danny Huston's
forceful and domineering movie executive is a great cast member, his
authoritarian side really bringing some punch to the story unfolding and
introducing some strong views of the inside of Hollywood studios.
This
aspect is relatable, it's strong and most of all, pinpoints the whole
thesis of the story we are watching unfold. In between Robin's acting
fate is also a hugely significant sub-plot in her son Aaron (Kodi Smit-McPhee)
and his slowly declining health state, adding that extra element of
emotion. Then the film delves into animation and loses it touch.
Despite
utter beauty in its wonderful creative world, The Congress soon finds
itself meandering in a story that loses its way and becomes all too
overwhelming. The additional voice casting of Jon Hamm
and some brilliant visual representations of famous persons alive and
deceased (including a white-teethed Tom Cruise) are indeed the pick of
the bunch in this section of the film, but these are a mere distraction
from many a moment of confusion.
Beginning as a promising
emotional ride with plenty of engaging characters, The Congress descends
into a discombobulated animated pallet with a story lost like its main
protagonist. One half real-life brilliance, the other a beautiful wreck,
this is a mixed bag from director Ari Folman and doesn't quite live up
to expectations like it really should.
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