Film Review: High Rise Is A Stunningly Thoughtful Look Into Classism
High-Rise is a thriller adapted from the J.G. Ballard novel. The visually stunning but emotionally grim film must be approached correctly to truly appreciate. Set in a dystopian, 1970’s high- rise building, the film follows different characters to give a psychological analysis on classism. If you are not in the right mind-frame, this will not be absorbed.
Initially, the film follows Dr. Robert Laing, played exceptionally by Tom Hiddleston, as he moves into a luxury high tower. He meets the charming Charlotte, played by Sienna Miller, and the brutishly savage Wilder, played rivetingly by Luke Evans. The three form a triumvirate of character observations that always keep the film strong in audience interests. Laing also meets the building’s architect, Anthony Royal, whom is the quintessential embodiment of money=power. He uses his building as a social experiment with those of the lower classes living on the lower floors. From the beginning, they consistently suffer from power outages and lack of amenities. It is in this developing aspect that a viewer can mentally step out of the film.
As things grow more violent in the building, in terms of lack of resources and basic human kindness, I, myself, could not stop thinking “Why doesn’t anyone move?”. The film has some very bloody, piercingly psychotic scenes that make you question why nobody has filed a police report, called a news outlet, or phoned a human rights campaign. It feels illogical that people would stay in horrible conditions and eventually defend them. Yet, that is the point of the film. The building is a reference for social/ economic classes, and how, despite unhappiness, everyone stays in their placed positions. If this perspective is not acknowledged, it can turn this masterful art piece into an irrational dud.
Choppy, fantastical images are used to elevate the political innuendos of the film. The movie tussles between dream sequences and harsh realities, which, at times, can leave the audience confused as to what or why things are happening. This is a purposeful attempt by director Ben Wheatley to assert that the social challenges/commentary of the film will be talked about well after it is over. Still, the cinematography is so crisply vivid, you never stop admiring how High-Rise appears like a moving painting. You almost want to enter the scenes from how clearly they manifest before you. Whether it is close-up shots of characters primitively dancing while blankly staring at the camera or wide- shots of the rich’s material vastness, you are in awe by the filmed vision. The movie wants to assure viewers feel characters’ spiritual void through a lavish, material contrast. The eerie music is especially helpful in escalating the differences. Clint Mansell created a haunting soundtrack to accompany the internal edginess of characters. Yet, it is the words of screenwriter Amy Jump that drive High Rise’s intellectual endeavor.
High-Rise is an intelligent, quotable film. Its dialogues feel like excerpts from philosophy books with two quotes being my favorite. The first is from the deliciously spoiled Ann Royal, performed by Keeley Hawes to be a character balance of annoying/ fascinating. Mrs. Royal remarks, “Poor people are obsessed with money!”. The comment strikes straight for the self-implosion that occurs in the lower levels/ classes of the building at not being able to have the stability and excess of the higher levels/ classes. As the poor begin to riot and destroy their own homes, the film becomes incredibly intriguing. You cannot stop watching the madness and trying to understand it. Yet, the lower classes’ mental disintegration from material lacking is understood through Helen Wilder, played sweetly by Elisabeth Moss. She poignantly claims that “Successful people do not like to remember how things can go wrong”. The quote perfectly sums the combustive wrath of the poor at being ignored by the privileged whose choices leave them stuck in helplessness.
Eventually, chaos and self-destruction take over the entire building, which, again, can put off a viewer whom refuses to see this film for its symbolism rather than its actuality. The power plays between the rich and poor become deranged, ugly, and hypnotizing to watch. Human questions of freedom, empathy, and greed run rampant in the second act as the audience concludes economic status is a constructed and failed measurement for morality. Thus, I would highly recommend this film to all, especially current college students. This movie is perfect for the student taking a socio-political or psychology course that is eager for a stimulating film on the matter. Overall, this film is for a moviegoer that wants both entertainment and a layered, mindful experience.
High-Rise Will Be Out In Theater This Friday: May 13, 2016. Enjoy!
