DARREN Aronofsky’s The Fountain traverses time, space, history and spirituality in an ambitious, thoughtprovoking, yet ultimately erratic film. Hugh Jackman and Rachel Weisz play lovers in three intertwined stories. In the first, Jackman is Tommy Creo, a scientist fixated on finding a treatment for the brain tumour affecting his wife, Izzi. She, in turn, is obsessed with finding meaning in death. As Tommy toils in the science lab, she pens a story spanning the Spanish courts of the 16th century and the Mayan kingdom of Mesoamerica. Here Jackman is Tomas, a conquistador in search of the tree of life, with its promise of immortality for his Spanish queen, Isabel. In the third story, he is a space traveller in a bubble, drifting towards a dying star in some indeterminable year, envisioning his lost wife, sustained by the bark of a single tree. Two of Aronofsky’s earlier films — Pi , about a man’s search for meaning in theoretical mathematics, and Requiem for a Dream , about addictions — were compelling cult films. In The Fountain , Aronofsky is again drawn to human extremes, with Tomas- Tommy’s quest to manage life and cheat death. Supporting actor Ellen Burstyn, who plays a senior scientist in the present- day story, is terrific, while Jackman gives an absorbing and memorable performance. The Fountain is intriguing and frequently gorgeous to look at. But the narrative is convoluted and the conclusion surprisingly predictable.
Fox ( feature runs 96 minutes) Rental