Vanilla Sky (2001)

2.5 out of 4

Starring: Tom Cruise, Penelope Cruz, Cameron Diaz, Jason Lee, Kurt Russell, Noah Taylor

Director: Cameron Crowe

Time: 130 mins

Hollywood remakes of foreign films tend to be a hit-or-miss affair. While there are occasional good efforts, such as The Magnificent Seven (from The Seven Samurai), Three Men And A Baby (from Three Men And A Cradle) and The Birdcage (La Cage Aux Folles), quite often the American adaptation leaves those familiar with the original wondering "Why?" (The Vanishing, anyone?). The latest remake is Vanilla Sky, director Cameron Crowe's version of Alejandro Amenabar's (The Others) 1997 Spanish thriller Abre Los Ojos (Open Your Eyes). Crowe even goes so far as to have Penelope Cruz, who was in the original, return to play the same character. There are some nice visual touches throughout and a dream/reality story that keeps you guessing, but the film never hits the emotional home run it needs to make it better than average. A pity, perhaps, given the generally good performances, and especially seeing how Crowe and Cruise gelled so well for Jerry Maguire in 1996.

Cruise is David Aames, the head of a New York publishing firm who lives in luxury and is having a sexual relationship with Julie Gianni (Cameron Diaz). At a party, he spots and falls for Sofia Serrano (Penelope Cruz), his best friend Brian Shelby's (Jason Lee) date. When Julie discovers the infidelity, she takes David out for a drive and runs their car off a bridge. David is disfigured in the accident, and begins having recurring dreams and headaches that makes him question his own sanity. Is someone framing him? Playing with his mind? What is real, and what is the dream?

Vanilla Sky has an interesting structure that defies timelines and the line between reality and the dream world. The narrative cuts between scenes of Aames pre-accident, Aames post-accident, and Aames answering questions from a psychologist (played by Kurt Russell) searching for the truth. Just as we're sure that one version is reality, the story turns us in another direction and we're left wondering what's actually going on again. I suppose this structure mirrors the confusion in Aames himself, putting the audience in his shoes. But for this to succeed, I think the resolution needed to be stronger - almost as mind-blowing as the twist at the end of The Sixth Sense or even Amenabar's other film, The Others. As it stands, the ending contains interesting ideas but leaves one feeling slightly deflated.

Story aside, the film does contain some memorable visuals. First, there is the depiction of Tom Cruise's disfigured face. It's not as gory as one might think, but the make-up is very good and convincing indeed. Second, there are amazing shots of empty streets and an empty Times Square in New York City, both done without any photographic or digital trickery. Even if you haven't been to NYC, you would probably know that Times Square is one of the busiest places on Earth. Seeing it devoid of people is surreal and startling. Kudos to Crowe et al for being able to get this shot.

Tom Cruise plays another of his confident, cocky characters, lifted from the likes of Top Gun, Mission: Impossible, and A Few Good Men. Through the luxury of inheritance, he's a man who wants for nothing, except for finding the perfect girl. He's not a particularly likable person, but Cruise flashes enough angst (and anguish) and that pearly white smile to make us side with him at various moments during the movie. His homophonic namesake, Penelope Cruz, doesn't do very much except being the object of Cruise's affection. While it may sound like a casting coup to have the original film's actress returning to play the same character, in reality anyone could have played the role of Sofia. Better is Cameron Diaz, who sparkles as Cruise's jilted lover. Diaz, who was gorgeous in The Mask, charming in My Best Friend's Wedding, and a ditzy delight in Charlie's Angels, is impressing me more and more with her acting ability. Like Sofia, there's not much for her character to do (aside from driving off the bridge), but she lights up the screen whenever she appears. Best of all is Jason Lee, who's been a scene-stealing fixture in several of Kevin Smith's comedies. As Cruise's concerned best friend, Lee injects humour and sensitivity into what could have been a hapless role opposite three high-profile co-stars.

I haven't seen Abre Los Ojos, but given its general critical acclaim, I'm not sure why Cameron Crowe (who usually crafts more personal, original stories like Almost Famous), of all people, decided he would like to remake it (other than trying to make money, of course). There's an interesting idea in the midst of all the confusion, but the execution and the payoff fail to lift it above the ordinary.

(c) Joe Wong (17 December 2001)