Thaindian News

By Madhuri Dey
Nov. 13, (THAINDIAN NEWS) “2012“, the latest arrival from the stable of Columbia Pictures and the brainchild of director Roland Emmerich, bears his signature everywhere. Not unlike his earlier ventures, the apocalyptic “Independence Day” and the monstrous “Godzilla”, “2012″ too is another epic enterprise, that, above all, celebrates the indomitable spirit of “humankind”. Watching the film, however, one can’t but help feel that the ensemble cast of some of the finest actors are a sad waste: after all, there is hardly much for them to do. All the dialogues are given to the special effects, the principal actor in the movie.

If there is anything about the film that stays a long time after you have watched it, it has to be the special effects. Like any other such film that is based on a doomsday script, 2012 is loaded with graphic, detailed special effects. David Brenner and Peter S. Elliot’s editing leaves you gripping your seat as the characters go hurtling between crumbling towers and away from the heaving, volcanic earth. The scenes are nothing less than spectacular: they would leave one breathless if one had the time to appreciate them while being taken on a disastrous roller-coaster ride.

Emmerich makes very nice use of the idea of the apocalypse. Instead of making a movie with a message that cautions humans of being responsible enough not to bring about the end of the world, he talks of the Mayan Calender prophecies that predict the doom due to a cosmic occurrence. “2012″ is not one of those over the top ovations to the American government that manages to evade the most disastrous of natural forces, the director on fact shows the hypocrisy and selfishness that the bureaucrats live upon. It basically portrays humankind’s attempt to tide over unfavorable circumstances, while knowing that they cannot match power against the greater forces.

The other thing about the film that stays with one has to be the emotional moments. Like the one when John Cusack and Amanda Peet huddle together with their children, as Thomas McCarthy looks on, left out of the closeness of the family. Then there are the parts where apparently estranged families stand up for each other.