Source Code (2011)
Captain Colter Stevens (Jake Gyllenhaal) awakes on a train. His mind has been transplanted into the body of Sean Fentress, a doomed train passenger. Fentress, along with 200 others, were killed in an explosion on a commuter train heading in to Chicago. But this has all happened in the past. Colter has been quantum leaped into a top secret government program known as the source code. It uses people’s brain waves to simulate a recorded reality. The last thing Colter can remember is a firefight in Afghanistan, and now he’s aboard a train looking for a mad bomber. Whatever info he can retrieve will help the officials (Vera Farmiga, Jeffrey Wright) prevent a second terrorist bombing scheduled that day. Colter only has eight minutes to interact with the train passengers and deduce who the bomber is. After eight minutes, the train explodes and the reality resets itself again. Things get even more complicated when he falls for Fentress’ fetching female friend Christina (Michelle Mongahan). Can he save her? Can he save anyone? Can he get out of the source code?
Source Code manages to be a twisty, trippy little film that doesn’t so much knock you out but definitely packs a bit of a punch. Its simplicity is its very best asset. There’s a bomb on a train (ignore the questionable movie sci-fi physics). Colter has exactly eight minutes to learn what he can before he and everybody else blows up. Then the fun starts anew. The movie is less a time-travel flick than an alternate reality sort of experiment. Personally, I love movies that present a timeline and then slowly thumb away at the edges, stretching the narrative space, showing the audience the various intricacies of this tiny world. Whether it’s Pulp Fiction, Groundhog Day, or the propulsive fun of Run Lola Run, I enjoy a story that expands outward into a greater foundational complexity. I enjoy the clockwork of a story that shows me how the different pieces work together. I enjoy that through the variations I can experience a richer world, seeing what happens to a passenger as they leave the train, seeing how a character’s actions can impact another, seeing how altering that character’s action alters other forces in the story. That kind of narrative trickery, perfected in Groundhog Day, makes the story feel like a living creature because you witness the interconnected relationships of everything and everyone. It also makes it pretty fun to watch.
Director Duncan Jones makes slick use of tight spaces like he showcased in 2009’s celestial sci-fi thriller, Moon. The quick pacing and collective rhythm of the movie helps contribute to its entertainment factor. Source Code is playful enough in design and execution. It remains consistently clever with its plotting, but what’s really surprising is that Jones is able to find a personal human story inside all the thriller trappings. Colter is trying to make sense of his situation, but he’s also trying to reconcile the idea of life, death, fate, and getting to speak with his parents who assume he was killed in Afghanistan (he’s been with the source code project for over two months). There’s a human face to all this, and while the love story feels tacked on and underdeveloped, Colter’s emotional turmoil and existential struggles to reassert his identity and find some peace from his life ring true. Gyllenhaal (Prince of Persia) is an ever capable lead who takes a near Hitchcockian leading man role and plays it straight to fine effect.
At the same time, Source Code tries to have it all with an ending that I don’t truly believe it pulls off. Spoilers will lurk, so skip the next two paragraphs those who wish to remain pure and chaste. The film does a fairly nimble job of setting up an appropriate, if mostly downbeat, ending. Colter doesn’t want to be a brain in a box; he doesn’t want the government using him as their newest tool for the rest of his unnatural days. He was pulled from the brink of death and he now just wants to die in peace. In the recorded reality of the source code, he’s allowed the chance that most of us will never have – he can find closure. Whereas he would have died on a desert battlefield, now Colter has an opportunity to speak to his father one last time, to say goodbye. The entire denouement of Source Code seems to be establishing a memorial for the people who were lost on that train, because once the source code is erased so too will they be. They’re electronic recreations but in the end it reminds you that they were real people, and now they get something of a proper sendoff, a fairly touching memorial to the people who will just be seen as numbers in a news report.
And then… just as Colter makes peace with passing over, he passes over into another reality. The train doesn’t blow up. The people are able to get off. He gets to walk hand-in-hand with his new sweetheart. Jones doesn’t make it clear what really happens, which can lead to some mounting confusion. Did they really alter the past? Did they create a parallel dimension? In one dimension is everyone on the train dead whereas in another everyone lives, short of Sean Fentress? And how crappy is that? Yes, Gyllenhaal is a charming and terrific looking guy, but does no one shed a tear for the fact that he stole another man’s body? Sean Fentress may not have had the courage to ask out his pretty friend, but that doesn’t mean he deserved to have his identity hijacked and his existence more or less erased from time and space. It’s a weird blemish that the filmmakers don’t truly want to address, and why would they? The ending lacks commentary of any sort strictly because the movie wants to have it all. It wants the sad, mournful ending, it wants the happy “Everything’s gonna be okay” ending. It almost let’s you choose. But Source Code doesn’t come across so much as a film that begs to be opened for different interpretations so much as a film that didn’t want to upset anyone by picking an ending.
Source Code is nicely paced, nicely plotted, and it produces just as many intriguing questions as it does substantial thrills. Jones finds interesting ways to make the same material different. The various characters, converging storylines, and science-fiction mumbo jumbo are all nicely woven into a satisfying bite-sized sci-fi thriller. It fumbles with the landing, in my view; it seems like a pandering appeal to please every faction of the audience, or at least to confuse them with the illusion that they have gotten what they wanted. This is an intellectual sci-fi potboiler in disguise as a thriller. Roll with it, play along, don’t think too hard about the moral implications of its murky ending, and enjoy the ride.
Nate’s Grade: B+
Posted on March 12, 2011, in 2011 Movies and tagged action, duncan jones, jake gyllenhaal, jeffrey wright, michelle mongahan, mystery, sci-fi, time travel, vera farmiga. Bookmark the permalink. Leave a comment.