Sandra Bullock, Gravity and the "single actor" movie

Ryan Gilbey explores the turning point in any film career - the “single actor” movie - when close-ups and soliloquies test actors to the max.

Alfonso Cuarón’s contemplative thriller Gravity is not heavy on dialogue; in space, no one can hear you soliloquise. But one line will provoke sympathetic nods: the astronaut Ryan Stone (Sandra Bullock) has been stranded alone for some time hundreds of miles above earth in a malfunctioning shuttle when she’s moved to remark: “I hate space.” The depth of the film’s visual palette and the intensity of the scrupulous sound design (Steven Price’s score ambushes the ears with crescendos that suddenly collapse to reveal chasms of silence) make us hate space too – to fear it, even as we bask in its beauty.

Gravity has been commended for the groundbreaking special-effects work carried out largely by the British company Framestore. If it’s true that Cuarón allowed years to pass while waiting for the technology to catch up with the demands of the screenplay he co-wrote with his son, Jonás, it was time well spent. “We made sure the quality of light was rich and varied,” the film’s visual effects supervisor, Tim Webber, recently told the Hollywood Reporter. “When [the characters] were over the ocean, there were cool blue lights, and over North Africa there were warmer colours coming from the desert.”

That’s a relief. Had I detected even a faint chill emanating from the Sahara region, I’d have been straight on to the “goofs” section of the Internet Movie Database to register the anomaly in the severest terms. As it stands, the various awards bodies may as well just tip next-year’s technical gongs into a swag bag and FedEx the lot round to Framestore: that race is won.

The comprehensive realism of the version of space shown on screen is achieved through animation, 3-D technology, stunt work and puppetry (in the film Bullock was installed into a rig that could then be operated as though she were a marionette). But the film must also have some traction as a metaphor for the life of a stratospherically famous actor who can command, as Bullock does, around $14m per movie. Like astronauts, actors get lonely in their line of work. For both, the moment that cements their professional success is often one of extreme solitude. For the astronaut, it might be the moon walk, or the excursion beyond the safety of the vessel to carry out repair work under the stars – years of training distilled into one person facing the glare of infinity. An actor has reached the top only once he or she can come to expect plentiful close-ups as a matter of course but that adoring convention of film vocabulary is also a process of isolation and quarantine. The cinema frame becomes a literal exclusion zone erected around a human face. This person is special. Keep away from the others. Keep out.

Earlier this year, the young Irish actor Saoirse Ronan, the subject of an extraordinary extended close-up in the teen science-fiction film The Host, explained to me what it is actually like to be under such scrutiny. “You feel it’s just you and the lens. It all goes very quiet on set. The camera’s like a friend sitting down that’s just all ears and wants you to pour your heart out. It’s this open, round, black thing and you can tell it whatever you want to say. That’s what’s so liberating about a camera, I find. Except it stares – that’s its way of listening.”

In extreme circumstances, there is a compliment available to an actor that ranks even higher than the close-up. It was bestowed upon Tom Hanks for more than an hour in the middle of the desert-island drama Cast Away. Ryan Reynolds found himself an unusually young recipient of the honour when he was stuck in a coffin for the entirety of the thriller Buried. The esteemed Philip Baker Hall was more than up to the task when Robert Altman cast him as Nixon, pacing around the Oval Office in Secret Honor; while John Cusack was able to bring shades of stand-up comedy to the horror film 1408 when he was awarded this privilege. What I am referring to are not merely close-ups but entire films, or the lion’s share of them, given over to a single actor. It’s hard not to see them as gifts with big floppy bows on top, handed out either as totems of encouragement for rising stars (see Locke, which features Tom Hardy alone in a car for 90 minutes) or long and distinguished service, as in the case of All is Lost, in which Robert Redford, battling to survive at sea, has a word count that is barely into double figures.

You may have noticed George Clooney’s name on the Gravity poster alongside Sandra Bullock’s but in no sense is the movie an ensemble piece. Other people appear in voice form alongside Bullock and Clooney, though when we twig that one of Bullock’s fellow astronauts is played by an Asian actor (Phaldut Sharma), we can be pretty sure he won’t be long for this world. Even in an unconventional film made by a Mexican auteur, the orthodoxy that places celebrities and white people first is beyond dispute. For all the meticulous technical detail of Gravity, there seems little doubt that Bullock’s celebrity status will be her protection against perishing. It’s a bummer for agents and managers when their clients die on screen.

At least Gravity respects the conventions of the single-actor movie. Such films are partly about the currency of the star – whether or not particular actors can “open” a movie, whether audiences will turn out on that first weekend because of their involvement. Bullock isn’t the primary commercial draw of a film such as Gravity, which promises spectacle and ( maybe misleadingly) certain comforts of the genre. But she will be vital in bringing to the movie a type of viewer not statistically attracted to science fiction extravaganzas. That type is called “female”.

The single-actor showcase also allows a film-maker to establish and negotiate limits; there’s nothing like restriction to free a creative mind. Outer space gives precious little wriggle room, as Moon, starring Sam Rockwell, virtually by himself, also demonstrated. But the same effect can be generated in transit – Steven Spielberg’s 1971 debut, Duel, about a lone driver hounded by the unseen pursuer at the wheel of a juggernaut, is a model of economy with precious few reprieves.

Not everyone can stick to the rules. In 127 Hours, about a man whose arm is trapped by a fallen rock, the director Danny Boyle was so terrified of boring the audience that he drained every drop of dread and suspense from the material. The challenge of setting the entire film in a cave counted for nothing when the editing and the camera angles exercised a liberty denied to the pinioned hero. Cuarón favours fluid, elegant camerawork that feels consistent with Bullock’s somnambulant movements; we may not know how the cinematographer, Emmanuel Lubezki, achieved the balletic shots but there are no restless cutaways to relieve the pressure, no division between form and content.

Perhaps this evocation of loneliness speaks directly to us whenever we witness a solitary actor stranded on screen. And maybe it’s also one of the elements that makes this type of film so rare and so disquieting. “We live, as we dream – alone,” wrote Conrad in Heart of Darkness, and it isn’t just Hollywood that throws an awful lot of noise and money into the business of disguising this truism.

Gravity is saddled with a banal backstory to explain why Bullock’s character feels no more alone in space than she does back on earth. The film’s imagery is primarily natal: umbilical cords attach the astronauts to the spacecraft, rippling seductively, while Bullock is seen at one point curled foetus-like in her chamber. An attempt at re-entering the earth’s atmosphere is shot from an angle that makes the debris resemble sperm competing to fertilise an egg.

But the film is at its most mature when it resists the magnetism of psychological explanation and dares to put Bullock in extreme close-up, staring out at us in the auditorium staring back. In those moments Gravity confronts and embraces loneliness without any holistic need to resolve it. Now that’s scary.

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Now listen to Ian Steadman and Helen Lewis discussing Gravity on the NS podcast:

Sandra Bullock in "Gravity": a film that "embraces loneliness, without any holistic need to resolve it."

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 06 November 2013 issue of the New Statesman, Are cities getting too big?

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In Snowden, Joseph Gordon-Levitt seems to absorb the spirit of the whistleblower

Gordon-Levitt makes Snowden’s mot­ives transparent without ever fully dropping his guard. It is reassuring that a film in which people are spied can still have a protagonist who remains essentially unknowable.

Laura Poitras’s Oscar-winning 2014 documentary Citizenfour captured the precise moment at which Edward Snowden turned whistleblower after quitting his job at the NSA. Is there room for another film on the same subject? Oliver Stone’s fictionalised account, Snowden, would suggest not. In effect, it admits defeat from the get-go by using the making of Citizenfour as a framing device, incorporating flashbacks to show what led Snowden to commit the security breach that exposed the extent of US government surveillance. Cooped up in a Hong Kong hotel room with him as he spills the beans are Poitras (Melissa Leo) and the Guardian journalists Glenn Greenwald (Zachary Quinto) and Ewen MacAskill (Tom Wilkinson), who put on their best ­listening faces and try to forget that all of the most interesting scenes are happening in other parts of the film.

What Snowden has in its favour is an economical performance by Joseph Gordon-Levitt which is mysterious without being aloof, cool but never cold. The actor gets the voice right (it’s a benign rumble) and though he is physically dissimilar to the real Snowden, that need be no barrier to success: look at Anthony Hopkins in Stone’s Nixon. Gordon-Levitt is absorbed by the role like water vanishing into a sponge. When the real Snowden pops up to stare wistfully off into the distance (there’s a lot of that here), it can’t help but be a let-down. People are so bad at playing themselves, don’t you find?

Gordon-Levitt makes Snowden’s mot­ives transparent without ever fully dropping his guard, and it is reassuring that a film in which people are spied on through the webcams of dormant laptops can still have a protagonist who remains essentially unknowable. The script, written by Stone and Kieran Fitzgerald, pulls in the opposite direction, allowing every character to deliver a remark of nudging innuendo. When Snowden is discharged from the army after injuring himself, a doctor tells him: “There are plenty of other ways to serve your country.” When he is approved for a job at the CIA, Snowden tells his employer: “You won’t regret this.” What we have here, give or take the strip club scene in which a pole dancer is filmed from an ungallantly low angle, is a more sober Stone than the one who made JFK and Natural Born Killers but he still can’t resist giving us a few deafening blasts of the old irony klaxon.

Though we know by now not to expect subtlety, Stone’s storytelling techniques are still surprisingly crude. When Snowden’s girlfriend, Lindsay (Shailene Woodley), complains that he has become distant, that he doesn’t touch her any more, the viewer is likely to wonder why that point had to be expressed in soap-opera dialogue rather than, say, action or camera angles. After all, the film was more than happy to throw in a superfluous sex scene when their love life was hunky-dory.

But when Stone does make his points visually, the cringe factor is even higher. He used carnivorous imagery in Nixon – a bloody steak stood in for murder – and the new film doesn’t take the vegetarian option either. Snowden is already starting to be alarmed by surveillance tactics when he goes hunting with his boss, Corbin O’Brian (Rhys Ifans). The pheasants they kill are barbecued in sizzling close-up, providing a buffet of symbolism. Snowden is going to be grilled. His goose is cooked. He’s dead meat.

An early scene showing him establishing contact with Poitras and Greenwald by an exchange of coded phrases (“What time does the restaurant open?” “Noon. But the food is a little spicy”) suggests that Stone intends to have fun with the story’s espionage trappings. The movie falls between two stools, however, lacking either the irreverence of satire or the tautness of a well-tooled thriller. At its most effective moments, it floats free of irony and captures a quaint, tactile innocence. We see Snowden communicating in sign language with an NSA colleague to avoid being eavesdropped on, or sitting in bed with a blanket over him as he taps away at his laptop. He is only hiding his passwords but he looks for all the world like a kid reading comics by torchlight after his mother has said: “Lights out.”

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump