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ARRIVAL
March 2, 2017
"Arrival" is also the title of the first
"Arrival" (2016): episode of "The Prisoner", but that's
not what I'm thinking about at present.
There's a lot to like
about this movie.
This is a movie to a large extent about mental activity,
this is a story about a scientist engaged in scientific
work. They actually show some of this, and it looks
plausible: going over diagrams, cataloging features,
doing computer data analyses, arguing about the right
things to try next...
It's a movie which to an very large extent POV
follows a single viewpoint: the temptation in
movies is to cut around and show us various
scenes the main character does not know about-- There's one except-
I've always (since I was around 15) felt that ion: a voice-over
this is a mistake: it's a cop-out that kills lecture filling us
the story, and undermines identification with in on the basic
the lead point-of-view. situation. That's
in the male main
I've seen the complaint-- I think in a characters voice.
Jane Fonda interview-- that there are
no movies that try to follow a female
character through every moment of her
life in the way that, say, the movie
"Harper" does for a male character,
where we see Harper wake-up in the
morning, struggle with making coffee,
and so on. I don't imagine that
"Arrival" is the first counter-example
of doing this with a female character,
but it's definitely an excellent
example.
The script is fairly tight, in nearly any way you
can think of-- the aliens perception of time is
reflected in the main character's perception of
time, there's a Twist Ending where what we thought
were flashbacks turn out to be flash-forwards,
and that's reasonably well integrated into the
overall theme.
This is not, however, a remarkably
*creative* movie: most if not all E.g. the paranoid military
of it's elements are reassembled mindset vs the reasonable
tropes familiar from other sources. scientists.
The one exception being the Samuel R. Delany
novel, "Babel-17", which I don't think you BABEL-17
could call "familiar": most of the audience is
probably unaware of it. The script author might
not even know it, it could be this film is an
independent recreation of many of it's ideas.
CAUTIONARY
After all, once you get interested in
"the Sapir-Whorf Hypothesis" and have the
idea to incorporate it in an SF story,
what else would you do except to exaggerate
(romanticize?) the magnitude of the effect,
and have an new language that acts as a
magic talisman, supplying you with unforseen
mental capabilities...
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