“A slow burning yet mystifying psychodrama in a
dystopian Garden of Eden.”
Two men vie to be the last surviving man on the
post-apocalyptic Garden of Eden in Z for
Zachariah, a sci-fi-ish psychological coming-of-age thriller by director
Craig Zobel. Inspired from a posthumously published 1974 novel by Robert C.
O’Brien, this minimalist humanistic drama explores provocative issues referring
to race, sex, class and faith, metaphorically depicted through a teenage girl
and the two men she finds wandering in her garden.
Once again, humanity is annihilated by a nuclear warfare. In
the aftermaths of this, 19-year-old Ann Burden (Margot Robbie) manages to
survive in her secluded sheltered farm on a mountain valley somewhere in
southern USA, a piece of land which remains untouched by radioactive
contaminants. Left behind by her preacher father and younger brother who have
not returned after searching for other survivors, Ann lives an isolated,
idyllic life with her Australian shepherd.
The peace is momentarily disturbed by the appearance of John
Loomis (Chiwetel Ejiofor), an engineer who was developing some kind of a
radiation-proof suit during the time of war. After getting ill from dipping into
a polluted waterfall, Ann nurses him back to health. John settles in her farm,
helping her harvest crops, fish in the pond and even fix a broken generator.
But everything changes with the arrival of Caleb (Chris Pine), a former mine
worker and an aimless drifter. Soon, a tacit rivalry ensues as they rebuild
more things in the farm.
Like any apocalyptic movies, Z for Zachariah is largely formulaic and predictable. Its plot is
not twisty as the film is more character-driven. Though gripping, it is a slow
burner as it takes sweet time to build the three characters and for their
relationships to bloom. It is mostly confident and commanding. Admirably, it
succeeds in convincing audience to invest emotionally on the trio. However, the
movie abruptly ends with a contrived and ambiguous climax. With the last few
minutes unexplained, it seems that viewers have been cheated as there is little
emotional payoff when the credits roll in.
Its conclusion may be disappointing but the film’s
intriguing central premise and underlying subtexts are what carry it the entire
time. What can we expect if we put one woman and two men in a diminishing
world? A passionate romantic triangle, of course, but the film veers from any
obvious expectations. Instead, it sensitively renders the characters, leading
to emotional and psychological divide. To think that a thirty-something man
will involve himself romantically with a teenage girl gives one chills. But
naïve and virginal Ann is attracted to John’s creative wisdom and experience,
and in fairness, John is too decent not to take advantage of Ann’s
vulnerability. They have time, he thinks, until Caleb joins the picture. While
John is black, atheist and well-educated, Caleb is white, deeply religious, and
blue-collared. Caleb shares the same background as Ann and both have noticeable
sparks for one another. But Caleb is respectable as well as he does not go
beyond flirtatious glances. So everything is actually up to Ann but the boys
suddenly put things into their hands.
Looking closely, the love story is an allegorical picture of
the messages that the film tries to convey. For one, John is hesitant to make
any move because admittedly, he has a different skin color. Class-wise, Ann
easily identifies herself with bucolic Caleb. But more than race and economic
status, the film is a metaphorical conflict between science and religion. While
John relied on his invention to survive, Caleb and Ann owed salvation to their
faith. A major turning point in the movie is the tearing down of the local
church so that the wood can be used to build a hydroelectric wheel. In the
final analysis, science may establish a new order but it is spirituality that
sacrifices for the greater good. As vaguely as this, the film also touches
issues on morality and compromises.
The three actors splendidly carried out their roles. Pine,
dashing and hunky despite the catastrophe, is indeed any guy’s intimidating
rival. She may be too beautiful for Ann but Robbie is genuinely evocative. Her
commitment is apparent as she gives an insightful and tender portrayal of a
woman needing connection. Ejiofor is the film’s life. His voice matches his
face as he brings compassion and fears to John.
Shot in widescreen on New Zealand outback, Z for Zachariah is good-looking and
Instagram-worthy. Though mostly inert, it is worthily searing and riveting. The
ending may have been rushed but the journey to get there is masterful and
well-played out.
Production
companies: Lionsgate, Grindstone Entertainmen Groupt, Silver Reel
Cast: Chiwetel Ejiofor,
Margot Robbie, Chris Pine
Director: Craig Zobel
Screenwriter: Nissar Modi
Producers:
Sigurjon Sighvatsson, Thor
Sigurjonsson, Skuli Malmquist, Tobey Maguire, Matthew Plouffe, Sophia Lin
Director of Photography:
Tim Orr
Editor: Jane Rizzo
Production designer: Matt
Munn
Music: Heather McIntosh
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