Lucy – An Exercise in Cinematic Speculation

Over the weekend (opening weekend, I might add), I went to see the latest film venture, Lucy. I went with a writer friend and Dark Red Press cohort, John J. Smith. I like seeing films with John, since he is often more critical of the screenplay and plotting than I and we can have significant conversations post-mortem.

I admit that I had high hopes for this film. First off, I really enjoy Besson’s films. From his first notable screenplay, The Big Blue, to The Professional, Le Femme Nikita and The Fifth Element all the way through The Transporter and Taken, Lockout and Columbiana. I love his action sense and the pace of his films.  Story-wise, he gets where he is going with only a modicum of reality and, dang it, that is what I’m looking for in a film experience: escapism. Screw reality!

Therein lies the crux of issue with his latest endeavor, the thrilling and elevated supposition exercise that is Lucy.

The entire premise of the story is built upon the hypothesis that we, as humans, only truly utilize about ten percent of our brains. Now, I’ve heard this hypothesis for many years and I always wondered at its truth. Truthfully, it is both logical and scientifically proven that we actually use almost all of our brain at any given moment, all parts performing their own perquisite activity in order to allow us to function at the highest of levels. The “highest of levels” being entirely subjective, of course.

Now, with that in mind, let’s put it aside and just suspend our disbelief for the sake of the film experience, shall we?  (I can do this because I choose to do this, in order to sort of turn my brain off from reality for a bit and slip into the film’s world. I like doing this. So sue me.)

The overarching theme of the film appears to be the likelihood that we—humanity as a whole—are not living up to our potential. Well, to be honest, that’s a given in my mind. Look at the state of the world today: corruption, greed, war and power-hunger is driving the actions of the vast majority of the planet. It is a far cry from anything close to Utopia, huh? Ain’t it a beautiful world to live in? But, again, let’s take a step back and hop into Besson’s car for the ride.

The action begins when Lucy, an American student studying abroad for a semester in Taiwan, gets duped/forced into delivering a package to our gloriously bad antagonist, Mr. Jang. Needless to say, things do not go well for our vapid blonde college girl. She is knocked out, operated upon and left with a bag of drugs shoved into her lower abdomen for delivery to the States. She, along with a few other mules, is not given any choice in the matter. Inciting event accomplished.

What I liked…

I liked the idea presented that “We never really die,” as Lucy so eloquently states.

“Energy cannot be created or destroyed, it can only be changed from one form to another.”

― Albert Einstein

I’ve always agreed with Einstein’s thought that energy never really dies, it can only be transferred or transformed. When we die, our physical bodies no longer able to maintain corporeal form, I sincerely believe that we go on: in another form of energy. Transferring out into the Universe. Moving on.

I would love to sit and chat with Besson about this… Perhaps someday fate may allow this conversation.

I also liked how, as Lucy’s cognitive abilities increased exponentially, her emotions dampened. Again, this falls into line with my own theory that the more intelligent we become, the more logic rules our actions and the less emotion plays a part. Now, we are far from what is presented in Lucy’s transformation, but still…

Which leads me to one scene in particular wherein Lucy asks that a character stay with her, even though it is obvious she can take care of herself. She needs that reminder of what it is to be human, to crave and need that human, emotional bond that makes us more than the sum of our intellectual parts.

Besson also did a fantastic job of using the invaluable writer’s tool of “show don’t tell” in a myriad of ways. Little seconds-long scenes that allowed us to catch a glimpse of Lucy’s growing abilities, but also her attachment to the person she once was. Those little scenes MAKE the film. They are the parts I loved the most.

What I did not like…

As I stated, both in the film and in my own theorizing, intellectualism has its downsides. The one scene in the film (and I’ve complained about this in other films as well) that made me want to slap Besson upside the head was when Lucy took a peek into a bad guy’s head to get some information. Although not the info she was looking for, it was clear that, at this point, he wanted her dead.  Why leave such a threat alive, when you’ve taken out others for less? If you’re in his head, how can you not see the base intent that absolutely shone like a white dwarf in that man’s soul? You’re just going to walk away? REALLY?!

Still, this would have eliminated the noted “Big Bad” in the film. Nevertheless, there could’ve been another obstacle/antagonist to throw at her. Oh, well.

SUMMARY

What can I say? I enjoyed the hell out of the film. I came away with a sense of completion and subject matter for this blog post, as well as a few others I’m thinking of writing up. I’m sure I’ll stir up trouble somehow.

4 of 5 Pens of Approval – Highly Recommended