From its metaphoric title to its powerful end, Director Michael Bay’s The Island had me fully engaged. Told in the genuine style of great science fiction commentary by screenwriters Caspian Tredwell-Owen, Alex Kurtzman and Roberto Orci (in 2005), The Island reflects the escape-from dystopia films of the 1960s and 70s such as Fahrenheit 451, THX 1138, and Logan’s Run. This elegant story examines a full range of human foibles—consumerist greed, racism, fascism and isolationism—through a premise that is as frightening as it is possible.
In the year 2019, Lincoln Six Echo (Ewan McGregor) and Jordan Two Delta (Scarlett Johansson) live in an isolated community where behavior is governed by a set of strict rules. This includes the avoidance of too close contact. Everything is the same; residents all wear the same white uniform and carry out simple duties. They’ve been told that the outside world is too contaminated for human life with the exception of one island. Everyone lives for the weekly lottery, where the winner gets to leave the compound to live on the island.
It’s a simple and banal existence. We glimpse a scene of adults reading Dick and Jane out loud. When in the opening scene Lincoln Six Echo finds a shoe missing in his provided wardrobe, this becomes a major focus of his day (when greeted by a colleague with, “How are you doing?” he responds with, “I’m missing a shoe.”)
Lincoln can’t accept this mundane existence. In an interview with Dr. Merrick (Sean Bean), the scientist who runs the compound, Lincoln naively unleashes a tirade of items that frustrate him, like why everyone wears white, who determined tofu Tuesday, and then ends with: “I want to know answers and I wish there was more than just waiting to go to the island.” He also suffers from dreams about a life he doesn’t understand—they are, in fact, memories of his ‘sponsor’, the original man (Tom Lincoln) that he is a copy of. When he discovers a moth and follows it, he stumbles into the hidden part of the compound. There he witnesses what really happens to “lottery winners”: they are killed and used for organ harvesting, surrogate motherhood, etc. for each one’s sponsor.
Lincoln is just an insurance policy. An ‘agnate’ according to Dr. Merrick, who describes them as in a “persistent vegetative state that never achieves consciousness” to clients, willing to pay millions of dollars for a second chance at life—and blithely unaware that ‘agnates’ are alive and fully formed with thoughts and feelings like them.
When Lincoln learns the truth, and knowing that Jordan just “won” the lottery, he convinces her to escape with him. Merrick hires Albert Laurent (Djimon Hounsou), a mercenary and former GIGN veteran, to find and dispatch them.
The Island received mixed reviews from critics, with a 40% “Rotten” rating, based on 185 reviews. Variety’s Justin Chang called the film an “exercise in sensory overkill.” Salon’s Stephanie Zacharek lamented that when the film got really interesting, Bay seemed to think he needed “to throw in a car crash or round of gunfire to keep our attention.” If these critics found fault with this elegant action-thriller, I hate to see what they make of 90% of the so-called SF movies out there today. Unlike them, The Island provides a refreshing meaningful face to action-adventure.
Roger Ebert suggested that The Island missed the opportunity “to do what the best science fiction does, and use the future as a way to critique the present.” Again, I disagree. The Island does what the best science fiction does well: it examines the nature of our humanity through the choices we make in adversity within a future world and premise that provides great opportunity for abuse.
The theme of this parable is carried evocatively by Steve Jablonsky’s score. Like a swelling tide it sweeps us on a journey to some distant shore. From the melodic strings and yearning chorus, the music builds to a powerful conclusion at the film’s end, when it lifts us to victory, resonating with our divine evolution.
I was particularly struck by the timing of the strings and chorus with the appearance of Albert Laurent, walking among those he had just liberated. It is a pivotal and powerful moment that escalates into a resonating vibration of liberty and victory as his eyes meet briefly with Lincoln and Jordan, reunited, and he smiles—for the first time. A beautiful smile of inner joy. It is the smile of a man who has “come home” and is finally free.
Laurent’s subplot is particularly compelling and carries one of the principle elements of the film. In some ways, Laurent represents you and me, caught up in our societal ‘duties’, seduced by self-serving entrapments only to awaken to a path of courageous compassion for all of humanity. Laurent’s journey from jaded mercenary to liberating hero begins when he notices Jordan’s skin branding and, recognizing a connection with her plight, helps her free the mass of ‘defective’ lottery winners about to be incinerated. We learn that his father had been killed as a rebel and Laurent was ‘branded’ as less than human. So, there he walks, brilliantly black among the white-clad ‘agnates’ who slide down the hill after emerging from the underground bunker in which they were incarcerated.
This motion picture is ultimately about finding dignity in the face of adversity and ridicule. It is about confronting the bully and gaining victory over one’s own barriers of fear and doubt toward compassion. It is about the power of love and connection with humanity. It is about retribution and finding one’s true path through the knowledge that we are all one.
“I am you; you are me. You are the waves; I am the ocean. Know this and be free, be divine.” Sri Sathya Sai Baba
Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.
Nina’s latest release is La natura dell.acqua / The Way of Water, a bilingual story and essay on water and climate change (Mincione Edizioni, Rome), set in Canada.