A
film review by Roger Ebert, April 28, 2000.
I
know exactly where the tape is, in which box, on which shelf. It's an old
reel-to-reel tape I used with the tape recorder my dad bought me in grade
school. It has his voice on it. The box has moved around with me for a long
time, but I have never listened to the tape since my dad died. I don't think I
could stand it. It would be too heartbreaking.
I
thought about the tape as I was watching Gregory
Hoblit's Frequency. Here is a
movie that uses the notion of time travel to set up a situation where a man in
1999 is able to talk to his father in 1969, even though his father died when
the man was 6. The movie harnesses this notion to a lot of nonsense, including
a double showdown with a killer, but the central idea is strong and carries us
along. There must be something universal about our desire to defeat time, which
in the end defeats us.
The
father in 1969 is named Frank Sullivan (Dennis
Quaid). He is a firefighter, and he dies heroically while trying to save a
life in a warehouse fire. The son in 1999 is named John Sullivan (Jim Caviezel), and he has broken with
three generations of family tradition to become a policeman instead of a
fireman. One night he's rummaging under the stairs of the family house where he
still lives and finds a trunk containing his dad's old ham radio. The plot
provides some nonsense about sunspots and the Northern Lights, but never mind:
What matters is that the father and the son can speak to each other across a
gap of 30 years.
The
paradox of time travel is familiar. If you could travel back in time to change
the past in order to change the future, you would already have done so, and
therefore the changes would have resulted in the present that you now occupy.
Of course the latest theories of quantum physics speculate that time may be a
malleable dimension, and that countless new universes are splitting off from
countless old ones all the time - we can't see them because we're always on the
train, not in the station, and the view out the window is of this and this and
this, not that and that.
But
Frequency is not about physics, and
the heroes are as baffled as we are by the paradoxes they get involved in.
Consider a scene where the father uses a soldering iron to burn into a desk the
message: I'm still here, Chief. His
son sees the letters literally appearing in 1999 as they are written in 1969.
How can this be? If they were written in 1969, wouldn't they have already been
on the desk for 30 years? Not at all, the movie argues, because every action in
the past changes the future into a world in which that action has taken place.
Therefore
- and here is the heart of the story - the son, knowing what he knows now, can
reach back in time and save his father's life by telling him what he did wrong
during that fatal fire. And the father and son can exchange information that
will help each one fight a serial killer who, in various timeline
configurations, is active now, then and in between, and threatens both men, and
in some configurations, the fireman's wife. How do the voices know they can
trust each other? The voice in the future can tell the voice in the past
exactly what's going to happen with the Amazing Mets in the '69 series.
Are
you following this? Neither did I, half the time. At one point both the father
and the son are fighting the same man at points 30 years separated, and when
the father shoots off the 1969 man's hand, it disappears from the 1999 version
of the man. But then the 1999 man would remember how he lost the hand, right?
And therefore would know - but, no, not in this time line he wouldn't.
There
may be holes and inconsistencies in the plot. I was too confused to be sure.
And I don't much care, anyway, because the underlying idea is so appealing - that
a son who doesn't remember his father could talk to him via radio and they
could try to help each other. This notion is fleshed out by the father's wife (Elizabeth Mitchell), who must also be
saved by the time-talkers, by partners in the fire and police department, and
so on. By the end of the movie, the villain (Shawn Doyle) is fighting father and son simultaneously, and there
is only one way to watch the movie, and that is with complete and unquestioning
credulity. To attempt to unravel the plot leads to frustration, if not madness.
Moviegoers
seem to like supernatural stories that promise some kind of escape from our
mutual doom. Frequency is likely to
appeal to the fans of The Sixth Sense,
Ghost and other movies where the
characters find a loophole in reality. What it also has in common with those
two movies is warmth and emotion. Quaid and Caviezel bond over the radio, and
we believe the feelings they share. The ending of the movie is contrived, but
then of course it is. The whole movie is contrived. The screenplay conferences
on Frequency must have gone on and
on, as writer Toby Emmerich and the
filmmakers tried to fight their way through the maze they were creating. The
result, however, appeals to us for reasons as simple as hearing the voice of a
father who you thought you would never hear again. [Ebert’s rating: *** ½ out
of 4]
Labels:
crime, drama, sci-fi, space-time, thriller
