A Beatles song is a classic, wonderful thing, often with the ability to drive a listener to silent tears (“Let It Be”), delirious giggling (“I Want to Hold Your Hand”) or head-scratching, faux-intellectual confusion (“I Am the Walrus”). And the fact that John, Paul, George and Ringo did tons of drugs doesn’t hurt, either.
It makes sense, then, that the average viewer would need the exact same amount of drugs (LSD, peyote, anything hallucinogenic will do) to sit through parts of Across the Universe, Julie Taymor’s send-up of all things Beatles-related. Taymor’s film, set during the rebellious, rock-and-roll influenced ’60s, dissects the social upheaval of the time period and is equal parts romance and social commentary, with a healthy dollop of musical thrown in (although the film isn’t about The Beatles specifically, the actors use Beatles songs as part of their narratives).
Although Across the Universe works on a variety of levels (newcomer Jim Sturgess shines) and effectively communicates the idealistic and chaotic era, the film is also starkly disjointed, with entire scenes that feel forced and insincere. While most of The Beatles songs used are executed beautifully (“Helter Skelter,” “Hey Jude,” “Across the Universe,” “Let It Be”), some others, such as “Revolution” and “If I Fell,” are disgraceful mock-ups of their former selves (and that’s not elitist, Beatles-worship talk; it’s just true).
The film centers around the love story between Lucy (the shockingly steely Evan Rachel Wood, Running with Scissors) and Jude (Sturgess, Mouth to Mouth). The British Jude sneaks into America on a quest to find his father, and through a series of fortunate events meets up with Max (Joe Anderson, Control), an Ivy Leaguer who decides to drop out of college and pursue his Jack Kerouac-influenced dreams in New York City. At Thanksgiving dinner, Jude meets Max’s little sister, Lucy – whose life shatters after her high-school sweetheart dies in the Vietnam War – and it’s love at first sight.
Even by that crucial plot point, barely half an hour into the over two-hour film, the musical aspect of Across the Universe has already made its presence known. It’s with “I’ve Just Seen a Face” where Across the Universe truly begins to shine: Everything in the bowling-alley-set scene works, from the choreography to the arrangement to Sturgess’ singing. Ah, young love.
The good news? Across the Universe follows along the road of pleasant, romantic discovery for quite a while, as Lucy and Jude embark on a new relationship. And visually, the film is enchanting and entrancing – eye-grabbing colors, 3-D effects and a cinematographic style that pops off the screen. The bad news? The large cast of supporting characters diverts attention from the couple’s plotline, making for over-the-top scenes that seem to be there only for shock value. Example: Lucy, Jude and all their friends go to a party at Dr. Robert’s (a thoroughly pleased-with-himself Bono), where they get immensely wasted, take a ride on his psychedelic, lava-lamp-colored bus, end up at Mr. Kite’s (the mischievous Eddie Izzard), get more messed up and frolic naked in the wilderness, making out in lakes and shit. The psychedelic fun would have been good for a 10-minute scene, but it’s definitely not worthy of a 30-minute one.
But when Taymor decides to tackle social upheaval, she does it well. The scene in which Max is forced to enlist is one of the best in the film, with a creepily patriotic rendition of “I Want You,” complete with 3-D Uncle Sams and G.I. Joe-like step-dancing soldiers. And the various protest scenes are all fantastic, effectively portraying the distance between Lucy and Jude as they each fight for what they believe in – and grow apart doing so.
Even with the disjointed scenes, forced songs and countless subplots, Across the Universe delivers in the far-out way only a movie riddled with songs by The Beatles could. As The Beatles progressed as a band, their songs went from silly and cute to psychedelic and politically themed, and Across the Universe is just the same way – a healthy evolution from romantic to dramatic, and all the way back again. Taymor may have attempted to do too much with this musical of sorts, but ignore the film’s trippy tendencies and enjoy a film like none other produced this year. Or, bring your own drugs and stay for the ride, psychedelic scenes and all – John, Paul, George and Ringo certainly wouldn’t have objected.
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