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There is a reason why the unusual DAY THE EARTH STOOD Composed (1951) is a classic and the remake (2008) is not. The FX of 1951 were minimal, but the emphasis on status, acting, allegory, and scripting combined (as they so rarely do) to compose a film that is watchable even after many viewings. Where Keanu Reeves sleepwalks through his role as Klaatu, Michael Rennie invests his with a riveting performance as a pseudo-human who slowly and naturally learns what it means to be human. Hugh Marlowe in the current is totally believable as the weasly like interest for Patricia Neal. Marlowe’s sliminess paired off well with Rennie’s saintliness. In the remake, there is no one, except perhaps in a collective sense, who can distract the audience long enough to glance Reeves as anything more than a mobile pained automaton who is only slightly more entertaining than Gort.
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Rennie causes the earth to stand peaceful in a manner that emhasizes his godlike powers. His assumed name of Carpenter further allies himself as one who must suffer, die, and be reborn himself so as to set humanity from itself. Reeves arrives on earth positive to exterminate human life as a prerequisite for maintaining it in its supposed pristine plot. His argument that John Cleese artfully exposes that Klaatu’s maintain bustle avoided self-immolation only after arriving at a precipitous tipping point is exposed as a sophomoric inability to connect one accurate thread of one hurry to a similar thread of another.
In the modern, director Robert Wise uses deliberately blurred camera angles to display Rennie as one whose correct nature can be only slowly revealed. Take Rennie’s introduction when he arrives at the boarding house to examine a room. Compare that masterly hiding of face and originate with Scott Derrickson’s inability or unwillingness to exhibit Reeves’ face as no more than a perpetual scowl. Kathy Bates as the Secretary of Place manages to invest her role with the film’s only notice of authenticity as she correctly notes the inevitable results that occur when a technologically advanced culture collides with a significantly less advanced one.
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Unless the audience manages to care about the lead (it does with Rennie but not with Reeves), then the director has no region to go but with FX. And for the umpteenth time, the revised version of TDTESS proves that the lack of acting and scripting cannot elevate a film to the point that FX can rep.
I’ve been beaten to the punch by a lot of really glorious, insightful reviews. I’ll only add that, like so many movies we seem to study today, this is one that could have been so grand better.
It is poorly paced, and miserably directed, with such an imbalance of emphasis between Klaatu’s heavy-hearted, planet-wide mission, and the irritating, recurrent focus on the “cute kid” character (Jaden Smith) who becomes as welcome in the legend as an insect at a picnic.
Jennifer Connelly is wholly improbable as a “world class” super-scientist, but at least the director resisted the temptation to fabricate some smarmy love-affair concoction between she and Klaatu. Given how tiresome the rest of the epic was, I was troubled that he might resort to such a technique to breathe life into this otherwise prosaic rendering of the fresh science fiction classic.
The special effects… well, yes, they were generous. It’s 2009. The special effects always ought to be pleasurable. But as we’ve all known for a long time, salubrious special effects do not necessarily design a generous movie.
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