The Science of Gravity There are many science fiction movies that
make you feel fascinated.
One of those films is “Gravity”.
Join me to this journey.
‘’Alfonso Cuaron's "Gravity" is one of the most beautiful, terrifying, moving and
promising films about human survival we've ever seen."
That's one review that can describe the film "Gravity".
It is one of the most shocking cinematic experiences and certainly one of the best films we have
ever seen.
Gravity, which opened the curtain of the 70th Venice Film Festival, left the audience speechless
and we are going to analyze the reasons why.
So let’s start.
The film was released in cinemas on October 4, 2013 and received very positive reviews
considering it a space masterpiece[3] and became a huge success with total receipts
reaching $716.3 million.
[4] Received 10 Oscar nominations, including for Best Film and First Female Role for Bullock's
performance, winning the Academy Award for Director and six other statuettes in technical
categories[5] He was also awarded the Golden Globe for Directing from a total of 4 nominations[6]
and 6 BAFTA out of a total of 11 nominations.
Director and co-writer Cuarón brilliantly manages to create both awe at his glorious
space vistas, and knuckle-gobbling tension at what's happening in the foreground.
You could find yourself asthmatically gasping with rapture and excitement at the same time.
In order to give this film life, he worked for almost four years on how he would present
this magnificent work.
In a real and rare modern cinema delirium of visual perfection, choreographed action
and great melodramatic intensity, Alfonso Cuaron in the film he seems to have wanted
to direct all his life - takes you into space from the first second of the opening and he
doesn't let you set foot on Earth until you have completed an existential thriller of
an emotional roller coaster that annihilates with breakneck speed and constant turbulence
all the distance that separates the awe of man's insignificance in the universe from
terror in the face of absolute emptiness.
Let’s take a closer look on the film.
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Alfonso Cuarón's incredibly exciting, visually amazing film is about two astronauts floating
in space.
Sandra Bullock plays a scientific engineer a scientist of genetics, Dr Ryan Stone, who
after six months of training she travels for the first time in space to attach a high-tech
new scanning device to the Hubble telescope.
She is under the watchful supervision of Matt Kowalski, a genial and grizzled space veteran
played by George Clooney.
She is accompanied by Matt Kowalski, who is on his last flight before retiring.
The voice of Houston mission control is played by Ed Harris, in playful homage to Ron Howard's
1995 space-disaster classic Apollo 13.
Only this time it is him telling them about the problem.
Soon, a terrifying situation unfolds.
The ship disintegrates and Stone and Kowalski are left alone in space, hooked only to each
other, in an endless descent into darkness.
Their deafening silence confirms that they have lost all contact with earth and all hope
of salvation.
As fear turns into panic, every breath reduces the oxygen they have left.
But the only way to return may require them to sink even further into the terrifying vastness
of space as they try to survive.
The expert astronaut's instructions will keep her alive until there's no other option.
A return to base is a solution, the rope will be cut and Kowalski will leave her alone in
space, and from this point on, the thriller will take a grotesque turn when Ryan is constantly
confronted with death, but she keeps getting away with it.
This happens either by finding "accidental" a fire extinguisher and extinguishing the
fire from mechanical failure, or at a difficult time Kowalski will appear who had gone to
the base, and making the "space-earth" route will keep it in rather than an upright, on
the tee with death.
There is three-dimensional realism that leaves you speechless, a survival thriller that flirts
with existential drama and an adult sci-fi adventure that delivers as little Hollywood
convenience as possible.
It's obvious to think, even before you see "Gravity,", that a story with only two heroes
lost in space brings with it an intense symbolism with inevitable metaphysical dimensions and
one or more thoughts about life and death.
What's not at all obvious is that when you're up against "Gravity" in its three-dimensional
splendor, you can no longer think of anything.
It's not only a science fiction movie but more of a contemporary space thriller.
It's happening in real time.
That is why it is so absorbing.
The movie draws, broadly, on the style of that dystopian tradition stretching from Kubrick's
2001 Space Odyssey.
It has some of their flashes of humour and horror and tension, but it is without cynicism
or satire, without monsters or talking computers.
A journey into space is filmed.
We can see wandering above the skies and far away from the earth, with two unique astronauts
facing difficulties.
This film demonstrates a story of fighting for survival in an endless space.
There are images that keep the viewer's attention tense until the last minute from the universe.
In this environment, the narrative is enriched by constant surprises and unexpected events,
charged with intensity and breathtaking of the audience in several places.
The camera's slow, descriptive and often rotational movements familiarize the doctor's perspective
by identifying the viewer's gaze thus increasing the emotions more.
Also noticeable are the shots from afar, as are the lateral faces of the footage showing
Dr. Stone inside a claustrophobic space vehicle curled up, in a foetal posture underscoring
the vulnerability of human nature.
The director seems to like the game with shapes and forms, creating a variety of visual effects,
even with lights or splinters that fall rhythmically from above forming a set that refers to spermatozoa.
A series of contrasts are orchestrated in the chaotic vortex of the doctor's movement:
the vast outer space with the narrow interior, the huge large with the vastly small, the
smallness of man in the face of the vastness of the universe, the female who despite the
feminist surface, seeks the hearth with the male who fearlessly goes away, is free, rebel
and wanders...
For Alfonso Cuaron, who started on Mexican television and arrived in "Harry Potter and
the Prisoner of Azkaban" and the Oscar nominees, "Gravity" was a long-suffering life plan.
He dealt with it for at least six years, changed studios and protagonists and finally managed
to do his own.!
Simple as ambitious, commercial adventure as well as a sought-after sci-fi drama, "Gravity"
is a special, exceptional cinematic case that has already made history.
This is because, apart from a technically great achievement (Emmanuel Lubezki's 3D photography
is a visual miracle), it is also a model of a virtuoso balance between a creator's artistic
vision and the strict imperatives of industry.
As for the latter, the film bets on a hearty spectacle which is... realistically dazzling.
The close-ups of the two protagonists, medical scientist Ryan Stone and experienced astronaut
Matt Kowalski, against the backdrop of the vast Earth, are evocative, the silent scenes
of destruction (especially that of the space station) incredibly plausible.
Moreover, the frugal plot is reinforced with a few emotional eases, such as the story of
her son Ryan, but also digestible sequestering scripts (the last, borderline naïve part
of the comeback effort) that flatter the viewer, thus preventing him from distancing himself.
Alfonso Cuaron, who co-signs the script with his son Jonas, is well aware of the concessions
he has to make.
It's not Kubrick, of course, but most of his colleagues would probably simplify things
more, when they wouldn't "embroider" on the small and big details, that make Gravity of
a great depth.
Claustrophobic and agonizing sensation, operatic magnificence and philosophical quests, "Allen",
"Solaris", "2001: The Space Odyssey" but also "Apollo 13"...
Through them, the couple's desperate attempt, and in particular Ryan Stone, to return to
Earth turns into an existential adventure that begins with the cord cutting (the cable
that keeps the astronaut connected to the ship/matrix) and reaches the... first man
to walk on Earth.
They mediate a path to endless emptiness, compromise with loss, the power of memory
and the games of imagination.
Ideas that even if refracted through a glossy Hollywood prism are rare to meet in blockbusters
of this range.
Gravity is a brilliant and inspired movie-cyclorama, requiring neither gravity nor gravitas.
This is a glorious imaginary creation that engulfs you utterly, helped by superlative
visual effects design from Tim Webber, cinematography by Emmanuel Lubezki and production design
by Andy Nicholson.
As you sit in the cinema auditorium, you too will feel the entertainment G-forces puckering
and rippling your face.
If anyone asks me what "Gravity" is about, I'll tell them it's a tense adventure about
a space mission gone wrong, but once they've seen and absorbed the movie, they'll know
the truth.
The root word of "Gravity" is "grave."
That's an adjective meaning weighty or glum or substantial, but it's also a noun: the
place where we'll all end up eventually.
The film is about that moment when you suffered misfortune that seemed unendurable and believed
all hope was lost and that you might as well curl up and die, and then you didn't.
Why did you decide to keep going?
It's is a mystery as great as any in physics or astronomy, and one we've all grappled with,
and transcended.
Since its release, various specialist observers have unsportingly emerged to say that the
science involved in Gravity is fanciful and wrong.
No matter.
What makes Gravity so gripping, and so novel, is that it behaves as if what everyone is
doing is happening in a world of commonplace fact: like a movie about two drivers on a
runaway train or hot-air balloon.
A movie set in space tends to trigger an assumption: that it is set in the future.
To sum up, Alfonso Cuaron is one of the quietest creators in Hollywood, having made high-end
films such as Great Expectations, I Want and Your Mom, Children of Men.
Here it attempts to climb level with a film groundbreaking and unusual for blockbuster
data.
A bold venture, crowned with (almost) absolute success both on an artistic level and in a
collectable that has been scanned, wherever it was aired.
No film since 2001: A Space Odyssey has so fully communicated the absoluteness of space
— its impossible vastness, its obliterating void.
Yet Gravity is existential in a real sense.
After it's over, you'll definitely feel stronger.
Not just for what man can accomplish, but for what it takes to make him believe that
he can make it through the great and enduring struggle.
As it is important to mention that, this film is essentially about a struggle to try to
get out of space and into earth.
This movie has one of the best special effects to make the film as wonderful and incredible
as possible.
It is a strict thriller from start to finish, and it is so well directed that is absolutely
stunning.
The 3D is also very impressive as they are up there floating around, so visually it is
very extraordinary.
Also in some points there is a real perspective as we are there, and we feel like we are in
that suit having a hard time breathing and losing gravity.
And what we can learn one more time,is that as humans we want to survive and we are capable
of doing anything.
When we face difficulties we find the courage to get everything on the right track again.
We have an inner power that makes us face everything.
But in order to do it, it is important to want it so bad!
If there is a true willing we can do everything.
Keep that in mind!
Thanks for watching everyone!
I would really like to know your opinion regarding the fim Gravity.
Do you think it is one of the most stunning films of all times?
Did you like it?
Did you make you feel like you are part of the story, trying to get back to earth?Let
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