Across the Universe (2007) Columbia Pictures
2 hrs. 13 mins.
Starring: Jim Sturgess, Evan Rachel Wood, Joe Anderson, Joe Fuchs, Martin Luther McCoy, T.V. Carpio, Eddie Izzard, Bono, Salma Hayek, Spencer Liff, Bill Irwin, Harry Lennix
Directed by: Julie Taymor
This film is rated: PG-13

Rating: ** stars (out of 4 stars)

The conception behind filmmaker Julie Taymor's ("Frida", "Titus") Across the Universe isn't necessarily an original one in a musical romancer that dares to examine nostalgic love set against turbulent times. In this case, Taymor's patched-up 60's-era love story wants to bring passion and prominence in a hippie-dippy style foundation courtesy of vibrant visuals and its "ace-in-the-hole" gimmickry--the feasting of classic Beatles tunes set to conveniently convey the sentimental, psychedelic pulse.

While ambitious and experimental in telling a familiar tale of mismatched affection between two star-crossed lovers from different walks of life, Across the Universe is sometimes poised as a flat and broad finger-snapping spectacle. Nevertheless, Taymor's creative (if not opportunistic) usage of the Fab Four's memorable tunes is more or less inspired and certainly will do the trick to lure ardent followers of Paul, John, George and Ringo into seats with all the enthusiasm of puffing on a "funny cigarette" during a Woodstock festival. Still, the invitation of using the Liverpool lads' legendary tracks to guide a stilted romancing musical doesn't warrant any craftiness in the conscious-minded malaise that Taymor wants her audience to feel instantaneously.

Taymor, known for pulling off a radiant and resounding edition of her Broadway production The Lion King, does maintain an active eye for her pop-musical leanings. Convincingly, she does score some valid points for utilizing the Beatles' affecting lyrics to give credibility to her on-screen couple's intimate connection. Universe wants to take on all sorts of emotional revelations in the moodiness of the story through animated dance numbers, delirious mixtures of spry imagery and of course the aforementioned influx of Beatles' songs that flow throughout this peculiar yet playful proceeding. Sadly, Across the Universe is stuffed and gagged with so many floating elements of festive forethought that the film forgets to balance its various tendencies accordingly.

For instance, how can this movie capture the essential political freedoms and frustrations of the chaotic 1960's so effectively yet still gloss over the loose-minded idealism of love and liberation of the erratic times by smothering this melodic showcase with aimless Beatles beats? Taymor never really challenges the lacking script by questioning the radical ramblings and hazily presents a synthetic slice of the 60's that doesn't feel as involving as it should in its dazzling shell. Sure, the music is joyous and will make Beatles fans reminisce thanks to the pop cultural artistry of revered singles such as "I Wanna Hold Your Hand", "I Am The Walrus" (as sung by U2's Bono in a dismissive cameo) and "I've Just Seen a Face". The crying shame is that the inventive Universe reaches for so much while not concentrating on the basic expectations of its lackluster lovelorn angle while favoring an over-indulgent Beatles' playlist.

The center of this pronounced tune-making tale involves Liverpoolian Jude (Jim Sturgess) attending Princeton while searching for his real father. Jude makes an instant buddy in Max (Joe Anderson) on campus and is privileged to eventually meet and greet his pretty sister Lucy (Evan Rachel Wood, "Thirteen"). A mutual attraction is decidedly formed as Jude and Lucy finds that loving bond an irresistible one to shake.

Soon, the kissy-poo pair will travel to New York City and further their special relationship as they come across a few colorful personalities--most notably in the likes of Jo Jo and Sadie (Martin Luther McCoy and Dana Fuchs) and lesbian activist Prudence (T.V. Carpio). As one can imagine, the gang weaves in and out of numerous scenarios as the soundtrack predictably matches a Beatles hit with whatever the wind blows across as a representing sensation or mood swing.

Suffice to say Across the Universe never legitimately establishes the realm for its corrosive canvas of the sixties as the hearty merriment of the story neglects the true symbolism of that historical duration. Understandably, the constant turmoil painted a vast picture of racial strife, war protests, drug infiltration and the hotbed politics and policies that plagued the American landscape with confusion and complexity. Sure, the main purpose was to heighten Taymor's preference for flower-power frivolity. Unfortunately, she fails to underscore her celebratory look at lyrical love by burying her intent in a misguided musicfest that could have embraced a sense of urgency in the truth for a rollicking disturbance to accompany the bombarded Beatles-centric ballads.

The performances are thoroughly zippy for the most part and some will allow their instincts to give way for Taymor's penchant for an extravagant quirkiness that is gleefully saturated in her half-hearted cinematic jamboree. The characterizations needed to be fleshed out resourcefully and put right in the middle of the missing societal hostilities. If only the dramatic heft in Across the Universe was adequately complimented by the surreal toe-tapping shenanigans then this rousing but rickety musical could have stressed more of its outrageous, bewildering buzz in defiant song and concrete slaphappy spirit.

Somehow, the Beatles' precious diamonds are glaringly missing from Lucy's sky if not in Julie's unevenly charismatic but cluttered and customary Universe.

Frank Ochieng
@ World Voice News (2007)