SCI FI PI

Released Oct 2
Starring Rufus Sewell, Jennifer Connolly, Keifer Sutherland, William Hurt, Colin Friels, David Wenham, Melissa George, Richard O'Brien, Bruce Spence, Ian Richardson
Directed by Alex Proyas
Rated M





Alex's Proyas' 1998 film is one of those rare films that not only stand the test of time, but do better for it. The Director's Cut is an excellent opportunity for those who remember the film fondly to revisit the magic, tidied up, smartened up and without the Blade Runner voice over that was deemed necessary for it's theatrical release. The result is a film that is dreamlike, beautiful and intellectually stimulating. Not bad for a low-budget Sci Fi thriller!

When people discuss Dark City, the films Blade Runner and The Matrix are invariably invoked. If you've not seen the film (we're going to assume you haven't) this is created by two things - the 'noir' feel to the film - it's not called 'Dark' City for nothing - and the central tenet that the life we are now currently living may not be, in fact, reality. As we know it.





The eternal night, slick beautiful and black costuming, bold but targeted colour palette of a dark and gritty landscape may be similar to other well known films, but a few minutes in Dark City's carefully concocted world and you find yourself in an original place.

The city and the time are at the beginning of the film, somewhere near the forties, somewhere in America. There's a beautiful retro, almost steampunk feel to the technology, cars and costumes, and they are shot lusciously. Whatever you think of the story, the film is as tasty as a chocolate cake.

The story is a mystery. A man (Rufus Sewell) wakes up in a bath tub, a tiny dot of blood on his forehead. He has no idea how he got there, or who he is.





We soon discover that Jennifer Connolly has lost her husband, and that William Hurt is a police detective, hunting down a vicious killer of prostitutes. All the while, Keifer Sutherland, as a strange, almost caricaturish Nazified-mad-scientist doctor is wandering around the shadows, obviously knowing far more than the man we soon learn to know as 'John Murdoch'.

But like most amnesiacs, Rufus Sewell's John Murdoch doesn't automatically accept his name as the truth of his being, and oddly enough, this is the truth, not just for him, but for the whole film.





At this point it would be easy to throw in more plot details, but frankly, for those who haven't seen the film, that would be a shame. In it's new form, it is a more satisfying mystery, combined with the thrilling chase of the 'hunted man hunting his truth' of John Murdoch. It's a well constructed plot, and is ably helped out by special effects that are still effective, and yet retain the hallmarks of the early years of digital effects.

The cast add a lustre built actually on their success since the film's release - Sutherland at the time was nowhere near the 24 star he is today, Connolly was 'the girl from Labyrinth' and this was Rufus Sewell's first major film role. It is a pleasure more thrilling in retrospect.





The other key to the film's current enjoyment is the boldness of the design - not only of the sets, but of the film's concept. It is a gigantic, classic Sci Fi idea that has been used and riffed on in a great number of books, films and TV shows, but with Proyas' detailed concern for shot composition and attention to the little details, you really do get a rich experience, far beyond a reasonably straightforward plot. That said 'straightforward' for Sci Fi buffs may mean 'mindblowing' for those new to the genre.



It is the craftsmanship of the film that really helps it stand the test of time. The acting talent is perfectly cast, with Ian Richardson and Richard O'Brien providing the right kind of gravitas and presence in roles that in lesser hands would've proved problematic.

The bad guys of the film have a chilling, other worldly quality, achieved through little more than floor-length black jackets, bald heads and good acting.

If you're looking for a Sci Fi film that you would like to proudly display to your non-Sci Fi friends, Dark City is a great start. If you've not seen it, it's a surprising treat, and if you have seen it, the Blu-ray conversion, with a host of extras, make this Director's Cut more than a grab for one more chunk of change.

Special Features

Includes both Director's Cut and the Theatrically released feature
Introduction by Alex Proyas
Memories of Shell Beach
Architecture of Dreams
Audio Commentaries by Alex Proyas, Roger Ebert, David Goyer and Lem Dobbs
Production Gallery
Director's Cut Fact Track
The Metropolis Comparison
Neil Gaiman on Dark City
Theatrical Trailer