David Mackenzie | 89 mins | streaming | 2.35:1 | UK, Sweden, Denmark & Ireland / English | 15 / R
It’s funny, sometimes, the journeys we take to watch a movie. I distinctly remember Ewan McGregor appearing on a chat show to promote this back in 2011. I thought it sounded like a good setup for a story, so the film’s existence lodged itself somewhere in the back of my memory. Clearly the film itself didn’t have much impact, and so, with no one talking about it, and no releases or TV screenings or whatever that were high-profile enough for me to notice, it went on the back burner. Until last year, when I noticed it was available to rent on Amazon Video.*
Anyway, the aforementioned setup is a global epidemic that causes people to have an intense emotional outburst followed by losing one of their senses — for example, the first stage is an uncontrollable bout of crying followed by losing the ability to smell. Over a short period everyone experiences the same thing, then the world learns to adapt… until it happens again, losing another sense. While this is going on, we follow the relationship of Michael (McGregor), a chef, and Susan (Eva Green), a member of a team trying to find a cure for the disease. Obviously, this provides our human connection to events, with the grand world-changing stuff providing more of a backdrop.
It’s ironic, then — or at least counterintuitive — that there’s more emotional power in the montages about senses and what was being lost — the ideas-y stuff — than there is in the character- and relationship-based bits. Those are actually surprisingly clunky at first, with even McGregor and Green — both actors I like a good deal — struggling to make them work. Things do smooth out in that regard, but the romance plot proceeds to conform to a pretty standard shape. Was the sci-fi crisis meant to reflect the relationship, or is the relationship a down-to-earth framework on which to hang a big sci-fi story? I suspect the latter, because it’s the end-of-the-world theatrics that prove more interesting.
Those are kept grounded and plausible: despite the ever-worsening situation, people keep getting used to the new status quo and going on as normal — until the sensory deprivation goes too far to ignore, of course. There are lots of neatly observed and imagined little bits in how this unfolds, like how after taste is lost the rituals of going out to restaurants remains, with focus moved to the sounds and physical sensations of the environment and the food; and newspaper critics still review places for this, naturally. This “life goes on” thing feels very much like how we as a society genuinely react to big changes or threats.
So, it’s not a perfect film, but Jesus, the negative reviews I sampled (chosen at ‘random’, where “random” means “the top results on Google”) were shitty pieces of criticism. Their points include things like it’s preposterous (well, the plot is propelled by an unexplained virus — it’s less preposterous than, say, Spider-Man), or the characters fall in love while the world falls apart (because no one ever seeks comfort in others during times of stress or tragedy), or the screenwriter has kind of a funny name (seriously — a supposedly professional review dedicated some of its limited word count to basically going, “lol, foreigner’s got name that looks funny!”) It annoys me that some people get paid to write bollocks like that.
As I said at the start, no one ever really talks about Perfect Sense, even after its director has gone on to bigger things (Starred Up attracted a lot of praise and Hell or High Water earnt Oscar nominations), but it’s worth a look for anyone interested in broadly-plausible end-of-the-world dramas.
* Having rented it, I was surprised to see it begin with a BBC Films logo, because most BBC Films productions end up on BBC Two within a year or two. So I checked, and it turned out it had been on TV, just once, in November 2012. (You’d think they’d’ve shown it more than that in the five-and-a-half years since — I mean, they’ve shown The Ides of March six times in four years.) Worse than that, though, was when I checked my iPlayer downloads and found I had actually downloaded it, so paying for the rental was a waste of money. Well, at least it was only £1.99, and I paid with vouchers anyway. But the colour grading of the two was completely different, which was just odd. Anyway, back to the review: ^