David Cronenberg, “Cosmopolis” (2012)
A profound and thoughtful film on the nature of the corporate fascist mind-set, “Cosmopolis” is a quasi-cyberpunk road movie across New York City. Billionaire asset manager Eric Packer (Robert Pattinson) sets out in his stretch limousine early in the morning for a hair-cut appointment. His path is not straightforward for the President of the United States has come to NYC on a state visit and security barricades have been put up in those parts of the city where the limo would travel through, plus his favourite rap singer Brutha Fez (K’naan) has just died and his funeral cortège will also interfere with and slow down the limo. As the limo also serves as his office, Packer meets with his art dealer / mistress (Juliette Binoche), his finance officer (Emily Hampshire), a corporate guru / philosopher (Sandra Morton), a couple of analysts (Jay Baruchel, Philip Nozuka) and his doctor for various appointments. He catches sight of his estranged wife (Sarah Gadon) a few times and tries to convince her to return but she refuses as she needs her energy for work. Throughout the day, he receives news that his humongous fortune, dependent on his prediction of the Chinese yuan’s depreciation being correct, comes crashing down and that his life is in danger from a stalker.
Due to the aforementioned obstructions and an unexpected protest, Packer’s trip to the barber takes much longer than expected – it takes over 12 hours! – during which time Packer reveals himself as a highly complex and troubled man: cold and emotionless externally, yet vulnerable, hungering for real human contact, searching for meaning to his existence and ultimately self-loathing. The plot is flimsy and absurd, and characters speak in a highly stilted and staged way, indicating that the source material is either a novel or a play – as it happens, the film is based on a Don DeLillo novel of the same name. Packer’s conversations with his employees and other people range over topics such as the nature of information and information flows and their value in capitalist society, the distinction between the present and the future, finding meaning in life and the value of wealth and material goods to one’s self-esteem. By night Packer realises that he is a ruined man yet seems quite happy and even feels free; and when he comes face to face with his stalker (Paul Giamatti) who may or may not kill him at point-blank range, he does not plead for his life and even appears to welcome the release that death may bring him.
“Cosmopolis” is cool, calculated and stunningly beautiful in a clinical, Ballardesque way in which the thin line between intellectual, abstract rationality and rich-kid hedonistic psychopathy disappears. The rapacious dehumanising values of corporate capitalism unfold through Packer, his hermetic limo world and the contrast it makes with the rough-n-tumble cosmopolitan world of NYC. R-Patz is an ideal choice to play Packer: his blank and beautiful face conveys subtle emotion and intelligence, and his acting is efficient. One can truly believe that here was once a golden youth, highly intelligent and university-educated, restless and wanting to know and to control more, a thrill-seeker desirous of experience and love, but now perverted by material greed and sensuous hedonism. First indications that his perfectly aligned, designed world will crash around him come from his two analysts and doctor who informs him that his prostate is asymmetrical. It will be interesting to see how Pattinson’s career progresses from “Cosmopolis” onwards: he can act in the kind of challenging role that once upon a time the likes of James Spader, Christian Bale and Heath Ledger chased and if he and his agent can find the right character roles in future films, his star will surely eclipse those of the current generation of Hollywood actors.
The support actors are a little wasted as they are all talented but their roles have very limited screen time: the stand-out is Paul Giamatti as the vengeful and deranged ex-employee who believes killing Packer will restore meaning to his own life. Other memorable characters include the security chief (Kevin Durand) whose whole life revolves around protecting Packer to the extent that he literally is Packer’s shadow and is nothing without him; and chauffeur Ibrahim (Abdul Ayoola) who together with the barber (George Touliatos) provide the warm proletarian contrast to Packer’s world of virtual reality and ruthless control of information and resource flows where real-life people like the security chief can be dispensed with at the barrel of a gun.
There are strong themes of authenticity-versus-inauthenticity, the quest for self-knowledge and identity, and the danger to one’s sanity of being caught up in a world where abstraction and emotionless rationality reign supreme and the need to know and control everything down to the tiniest detail such as the shape of one’s prostate absorbs all one’s attention. Packer represents a profoundly nihilist individual who has become God in his world and it seems appropriate that to be truly Übermensch, he pays for his nihilism by destroying everything he has, including his own life.