Mars is on my mind, and not just because it seems that scientists have found proof of water on the red planet. And yet, perhaps not unrelated, because The Martian, Ridley Scott’s latest sci-fi flick (Alien – 1979, Blade Runner – 1982), derives much of its appeal from its reliance on the known, the plausible, and the possible. Yes, science is sexy.
Speculative fiction, whether in film or narrative form, often indulges the wildest whims of the imagination – and why not? When the story is set in the distant future, or somewhere out in space, somewhere beyond the scope of human knowledge, anything and everything can happen. Usually amazing things that happen very fast, with dazzling visuals and sound effects. Whether it’s escapist fun or horrific thrills, I’m a huge fan of the genre. Yet there is another mode of storytelling that takes what we know, and pushes it just a bit farther, asking “what if” and pursuing that question within the bounds of current scientific knowledge. That is where Ridley Scott takes The Martian, and it’s a very appealing and suspenseful ride.
One of the beguiling aspects of The Martian is that rather than the mysteries of the unknown, the suspense here hinges on what we do know: Mark Watney is going to die. At least, that is the most likely scenario. And if anything is going to save him, it’s science.
When a sandstorm forces the crew to abort their mission, Mark Watney cannot be found, and the crew must leave the planet, presuming him to be dead. But, as they say, he is not dead yet. Torso pierced by a broken antenna, Watney was knocked unconscious, but upon awakening he has all his wits about him, at least enough to realize that he is alone on Mars, in a lab designed to sustain human habitation for 31 days, and even if he does succeed in letting NASA and the world know that he is out there, it would take a rescue mission four years to reach him.
The film has a lovely, restrained pace, saving its rocket burst of energy for the suspenseful finish, and following Watney as he figures out how to cope with the situation. Luckily, he’s a botanist, so hey, let’s hear it for the natural sciences! Damon is tremendously appealing as always, his matter-of-fact demeanor perfect for this portrait of understated courage. Scott makes smart and simple use of what might logically be available to solve the narrative question of how to tell the story of a guy who is so utterly alone: Watney records a video log of his thoughts, feelings and Robinson Crusoe-like progress.
Watney of course, is not alone – there’s the whole world as we know it and NASA out there who must cope with everything that happens. The politics and money issues of Earth provide an engaging counterpoint to Watney’s solitary sojourn. Jeff Daniels is in very smooth bad guy mode as the NASA boss who privileges public image over moral considerations. Mission leader Jessica Chastain and the rest of the Watney’s crew buddies supply the balance of emotional tension and moral conflicts.
It’s a paen to DIY, with all the glamour of space, the boy-next-door affability of Matt Damon, gorgeous 3D visuals of the rocky, desolate, Mars, and a great soundtrack (wait for David Bowie and Gloria Gaynor – perfect!). All this in the incredibly capable hands of Ridley Scott and a stellar cast. So much fun!
The Martian (USA, 142 min, 2015, English, Mandarin)
Directed by Ridley Scott; Screenplay: Drew Goddard, based on the novel by Andy Weir; Cinematography: Dariusz Wolski; Editor: Pietro Scalia; Music: Harry Gregson-Williams; Cast: Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Pena, Kate Mara, Sean Bean, Sebastian Stan, Aksel Hennie, Donald Glover, Mackenzie Davis, Benedict Wong, Donald Glover, Chen Shu, Eddy Ko, Chiwetel Ejiofor.
