Envisaging mammoth expressions with an ‘Emotional Intelligence’, quite a stark word to consume appropriately becomes the most intriguing element that lets you accomplish the fantasies as realities in Christopher Nolan films. Sparing the one good personal intentions of why Nolan lets the girlfriends and wives of protagonists passed away, still remains to be verbally unexpressed thought.
Claiming the end of humankind almost to the extinction, Cooper (Mathhew McConaughey) begins his journey with a crew of challenging Brand (Anne Hathaway), Romilly (David Gyasi), Williams (William Devane) and robotic Tars (voice by Bill Irwin). But on their journey to the new planet across interstellar, they find the loss of hope, the presence of immaculate ghosts, the first handshakes, betrayals, the final redemption and the emotional realms between father and daughter.
What strike more than the visual brilliance is the perpendicular strokes of emotions that keeps adjacently you in awe. To make the first of all appreciations, the brilliant pictorial of Murph in three different stages of life and the performances of Mackenzie Foy as 10 yr old Murph followed by Jessica Chastain as teen girl and finally Ellen Burstyn as the older one is such a compelling effort. Mathew McConaughey shows up his excessive addict towards emotions. Watch out for his outburst before departing from his daughter with a promise that he’ll comeback and they might be of same age only to have something unexpected during the climax that leaves you so much in pain of tears and the lines claiming it “Parents are not supposed to see their children die.” Anne Hathaway casually evokes the substantiality of her role, where she misses her father and the buried secrets of hopes dashed down pop up.
When it comes to Christopher Nolan flicks, you can’t look up too many logics and he makes sure of letting you imbibe the lateral thinking as in ‘Inception’. It might be wrong or true, but you have to accept his theories.
The background score by Hans Zimmer, Hollywood’s most proficient music director leaves you succumbed to frozen excitements and the art work puts you in state of awe.
Interstellar doesn’t belong to the family of just ‘Gravity’ and Roland Emmerich flicks, but something that exactly stands above the sci-fi and fantasies with the emotional genre.
Verdict: The worlds may change, but not the emotional bonds.