When it comes to sci-fi movies, The Fountain is not an easy movie to understand or fully appreciate. First of all, unlike what most sci-fi fans expect, there are no robots, aliens, or futuristic action scenes. I know that is probably not the most exciting way to sell a movie, but it should prepare audiences to expect something more cerebral and poetic. The first time you watch this movie, there is a good chance you will spend a good amount of time wondering what Darren Aronofsky is doing. Then, if you are like me, you start analyzing and dissecting it afterward, and suddenly, certain details rise to the surface and the concept becomes clearer. It is definitely out there, but it’s also beautiful, sad, and occasionally so earnest that it nearly talks itself into being ridiculous.
And both Hugh Jackman and Rachel Weisz are terrific in it (and imagine a Wolverine love story where Weisz played Jean Grey!). Jackman is especially interesting because he was not even the first choice for the role. In fact, two other major actors were considered for the part before Jackman eventually got it, which makes his casting a pretty interesting piece of The Fountain’s history. I feel like this movie proves Hugh Jackman is better suited for dramatic and unique roles like The Greatest Showman, The Prestige, and Les Misérables rather than being defined by a Marvel character. There are roles better suited to Jackman than Wolverine, and The Fountain is a pretty good reminder of that.
Surprisingly, Brad Pitt was attached to The Fountain before Hugh Jackman ever entered the picture. The version Aronofsky originally planned was considerably more ambitious. The project had been kicking around for years, and Pitt’s involvement helped get it moving toward production. Then things started falling apart into development hell. The budget became a problem. The production became increasingly complicated. And Pitt eventually left the project. For a movie this unusual, losing its star could have been enough to bury it for good.
Russell Crowe was then considered for the role. Before Jackman eventually came aboard, audiences might have gotten a gladiator in the role of Tom Creo. I find that casting history almost as unusual as the movie itself. Try watching The Fountain and imagining Pitt in Jackman’s place. Then imagine Crowe. Those would have been two very different movies. Jackman had something the other two might not have brought to Tom Creo: a certain vulnerability underneath all that intensity. He could look like a guy who was trying desperately to solve an impossible problem, rather than a movie star who had already figured everything out. Considering the movie is ultimately about a man refusing to accept something he cannot control, that was a pretty important quality to have.
Tom Creo is a scientist, a husband, and a man becoming increasingly obsessed with finding a way to defeat death. That last part is where The Fountain gets really intense and unforgettable. The movie isn’t particularly interested in giving you a neat explanation for everything. It jumps through different timelines and metaphysical ideas. It also mixes reality with fantasy and expects you to keep up. Some viewers loved that. Others absolutely did not. Although I’m with the former, I understand both sides.
As a fan of the movie, though, I think the emotional side of it matters more than figuring out every piece of the puzzle. Jackman embodies the sheer desperation of the story. You can see Tom slowly losing sight of everything except his need to save the person he loves, and that makes some of the movie’s more unusual choices work. It is also nice to remember that this came from the same actor audiences were watching as Wolverine. Even as someone who doesn’t prefer Hugh as Wolvie, I had no problem believing Jackman as Tom—without ever being reminded that he played an X-Man. There is no sarcastic superhero routine here, no claws, and thankfully, no need to shout “bub.” Just Jackman carrying a very heavy, very sincere movie on his back. The Fountain may never become a movie everyone agrees on, but that is what makes art, art. Some films give you all the answers. This one leaves you thinking about the questions.
On a side note, one of the most powerful aspects of The Fountain for me was the soundtrack. Clint Mansell, the Kronos Quartet, Mogwai, and everyone else involved in the film’s music were just as integral to the film as anyone else. Mansell’s score was even nominated for a Golden Globe, while the unusual combination of Kronos Quartet and Mogwai gave the movie a sound that could feel intimate one moment and absolutely overwhelming the next.
By the time The Fountain ends, it feels less like a movie you watched and more like a dream you somehow remember. Maybe that is why it lingers—the movie spends so much time chasing immortality, only to remind us that the thing we are most afraid of losing is what makes life matter in the first place. And if that sounds a little too deep, well, that’s The Fountain for you. So, go ahead and take a dip.
