David Cronenberg’s ‘Cosmopolis’ isn’t as effective as one would hope from a director with such longevity. It features Robert Pattinson as a young capitalist, Eric Packer, roaming in a limo through a city that, in numbers, is practically his. He is confident and filled with absolutism, the sort of rock-hard complex that can explain his seat in society without one even knowing his profession. Pattinson rolls off Cronenberg’s intellectual jargon with sterility, creating a mood outside of the character: The things Packer says sometimes seem outside of himself, like he is talking not about what he wants to do, but what he should.
The themes are different for Cronenberg: sure, the movie has sex, sexual demands, and lack of meaning behind sex, all part of his past portfolio, but he takes on capitalism with a preachers might. He’s really trying to pry some nastiness up from the ground; but in all, It’s hard to take it in from a character like Eric Packer, who has conquered the system. As the majority are not rich and well-informed, the didactic notions of the people concerned in the movie all seem hypocritical. The people who are more impacting when it comes to capitalist unfairness are from the neo-realist films of Italy and America’s depression-era.
With all great filmmakers, a flop is still worth more of a penny than the work of other less gifted directors. There are moments in Cosmopolis that are thrilling and artful, most especially the scenes including Paul Giamatti as a man who wants to kill for notoriety. It takes a scene with little physical content or inventiveness and analyzes it far beyond first glance. In the end, if you’re going to be killed, talking about it doesn’t change anything.
One aspect of Cosmopolis that is done right: the music. It’s a bumping, techno-like rhythm that rolls along side the colorful limousine, all done originally by Howard Shore. It features the death of a rapper–and his subsequent song playing as Packer mourns the death he, as an information man, didn’t know about right away. He’s as much crying about his lack of knowledge as he is the death, having met him but once.
The cold nature of the film will turn some away without a doubt. But this surreal, strangely engaging film presents streams of ideas followed by detailed direction by David Cronenberg.