Robert Zemeckis, the visionary director behind cinematic masterpieces like ‘Forrest Gump’ and the ‘Back to the Future’ trilogy, has always been a pioneer in pushing the boundaries of film technology. From groundbreaking visual effects to innovative storytelling, Zemeckis has consistently challenged the limits of what’s possible in cinema. Now, he’s taking on a new frontier: de-aging technology, the modern-day magic trick that can make veteran stars look startlingly youthful.
In his latest film, ‘Here,’ Zemeckis has bestowed the Dorian Gray treatment upon none other than Tom Hanks. The film, currently playing in theaters, utilizes an AI face-swap program called Metaphysic Live to transform Hanks and Robin Wright, his co-star from ‘Forrest Gump,’ into their younger selves. The result is a cinematic experiment that’s both fascinating and unsettling. The illusion isn’t seamless; the de-aged versions of Hanks and Wright appear slightly too shiny, lacking the subtle nuances of natural expression. They’re like uncanny reflections of their past selves, remnants of youthful memories captured in a digital mirror. This artificiality speaks to a larger issue at the heart of Zemeckis’s filmmaking – his relentless pursuit of technological innovation often overshadows the human element of his stories.
‘Here’ is marketed as a spiritual reunion of the ‘Forrest Gump’ cast, a nostalgic celebration of American pop culture. Yet, it also feels like a companion piece to ‘The Polar Express,’ another Zemeckis film that utilized digital effects to transform Hanks into a CGI facsimile of himself. ‘The Polar Express,’ released in 2004, marked a turning point in Zemeckis’s career – the moment when his focus shifted from character-driven storytelling to pushing the limits of computer-generated imagery. This fascination with technology has, unfortunately, led to a diminishing of the emotional impact of his films.
While Zemeckis has always been at the forefront of effects technology, his early works like ‘Back to the Future’ and ‘Who Framed Roger Rabbit?’ managed to seamlessly blend the real and the fake. ‘Forrest Gump,’ a masterpiece of visual effects that won an Oscar for its innovative integration of Hanks into archival footage, never allowed technology to overshadow the film’s poignant emotional core. In ‘Who Framed Roger Rabbit?’, Zemeckis cleverly used groundbreaking animation techniques to create a world where cartoon characters and humans coexist, proving that even with dazzling special effects, a compelling story and relatable characters could remain at the heart of his work. However, over time, the balance between real and fake has tipped in Zemeckis’s films, with the human element often fading into the background as technology takes center stage.
‘Here,’ while conceptually audacious, ultimately falls victim to this imbalance. The film’s ambition lies in its use of de-aging technology, its commitment to a single camera angle, and its vast temporal scope, spanning millions of years. Yet, despite these bold choices, the film feels distant and impersonal. The characters, trapped in a digital world, seem almost as artificial as the animated dolls in his previous film, ‘Welcome to Marwen.’ The focus on technology has left the emotional core of ‘Here’ somewhat hollow, creating a sense of disconnect between the viewer and the characters.
‘Here’ is undoubtedly a technical marvel, showcasing Zemeckis’s unwavering commitment to pushing the boundaries of filmmaking. However, its preoccupation with technology leaves the human dimension lacking. In the pursuit of innovation, Zemeckis has ventured into the uncanny valley, a place where the line between reality and artificiality blurs, leaving viewers with a lingering feeling of unease and a sense of disconnect from the characters and the story.
As ‘Here’ unfolds, one can’t help but feel a sense of yearning for a return to the days when Zemeckis prioritized human connection over technological spectacle. His early films, filled with heart, humor, and unforgettable characters, served as a testament to the power of storytelling. ‘Here,’ while a testament to Zemeckis’s technical prowess, unfortunately falls short in its emotional impact.
Perhaps it’s time for Zemeckis to step back from the cutting edge of technology and revisit the humanity that once defined his work. The world awaits a return to the magical blend of real and fake that made his films so captivating, a reminder that even in a digital age, stories about human connection and experience hold a timeless power that no amount of special effects can ever truly replicate.
