High-Rise captivates with impressive cinematography
Civilization is what separates the barbarians from the normal folk — or so it goes. High-Rise is a visually striking sci-fi thriller that seeks to challenge that notion, and while the plot is a little hard to follow at times, it ultimately unravels a primal narrative through its gorgeous cinematography.
High-Rise, based off of the 1975 novel of the same name by J. G. Ballard, starts with Dr. Robert Laing, played by Tom Hiddleston, moving into a large apartment building that has more than just living spaces. With a supermarket and swimming pool, the building seems to be the perfect place to live on paper, but it’s not at all a utopia. The architect of the building, Anthony Royal, played by Jeremy Irons, lives at the top like a god, and Laing learns of the unofficial class structure that divides all of the residents. Eventually, the building loses all of its power, and with tensions among the residents reaching a boiling point, all sense of humanity is thrown out of the window, and everyone reverts to their most primal instincts.
The plot unfolds slowly, and at times, it’s a little tricky to tell what exactly is happening. Most of the movie brings up questions for the viewer that they assume will be answered in due time. While there is a resolution, the audience might not be satisfied with the answer they get. It’s slightly frustrating, since some of the characters make certain choices that aren’t really clear without having a firm grasp on what’s going on. It’s not too much of a problem, since the basic plot is really simple to follow: People go from acting civilized to acting like cave-people once the electricity turns off. Subtle character nuances and subplots are more difficult to understand as the film progresses, which can be annoying at times, especially with the recurring ones.
Hiddleston gives a very reserved performance as a character that rarely shows emotion until the end of the film. He plays the part well, and it’s a good to see that he can deliver performances that aren’t Shakespearian, something he’s known for with his portrayals of Loki. Despite strong performances from Sienna Miller and Luke Evans, the best scenes are the ones with Hiddleston in them. His character is hard to pin down and stays shrouded in a morally gray cloak. This is both a highlight of and hindrance to the film, as it doesn’t help with the film’s muddy plot, and Laing’s choices in the film can be just as confusing, On the other hand, Laing keeps the film interesting by keeping the audience on their toes with its unpredictability.
The film’s greatest strength is the cinematography. This film is so beautifully shot, it almost excuses the confusing plot, and it serves as a nice distraction from trying to put two and two together in terms of what’s happening in the story. In fact, while the written narrative can be hard to follow, the visual narrative is imperative in making sense out of everything. It’s just as helpful as it is gorgeous, and without it, the story would be almost impossible to understand. Scenes where Hiddleston’s figure seemingly repeats itself in an elevator that has mirrors on all four walls combined with dramatic lighting that casts a strong shadow over his face is just one shot out of many others that not only look fantastic but help the audience delve deeper into the narrative.
High-Rise is a strange film and graphic if nothing else. There is almost nothing left to the imagination when it comes to the inhabitants of the apartment complex slowly reverting to barbaric behavior. The choice to model the fashion style after the ’70s is an interesting one that ultimately works, since the ’70s was one of the most socially liberal times in history. It adds to the narrative, which can sometimes be hazy, and it certainly adds to the beautiful cinematography that is both helpful in making sense of the plot and the film’s strongest aspect. It’s not a sci-fi that will join the ranks of Star Wars, Blade Runner or any other legendary classics, but it is worth seeing.