K-PAX
(2001)
The K in "K-PAX" is for Kevin, Kevin Spacey. And the
PAX is for the inordinate amount of acting prowess he
packs into the main role. This is, no doubt, an actor's
film. This is the kind of script that actors can now
use their clout to get made. Spacey was surely chomping
at the bit to get in the skin here. At one time, Will
Smith was said to be starring. Then Spacey came on and
it was said he would also direct the film. That's the
kind of thing you would expect to happen with this film.
Several high profile names use their star-power to get
the film made. But, that being said, Spacey is the perfect
actor to embody the main character. This is the sort
of role that used to win actors Oscars. In fact, I'd
truly be surprised if Spacey was heavily considered
for a nomination this year.
"K-PAX" is about humanity. Of course, a character
that claims to be non-human, an alien from the titular
planet, illuminates this spotlight on humanity. Since
Jeff Bridges co-stars, the film has often been cynically
referred to as "Starman 2," but this does this wonderful
film a great disservice. This film is neither remake
nor retread. It has some very nice new elements going
on in the alien-in-human-form genre. This film rarely
resorts to the typical or the hackneyed.
Bridges plays a psychiatrist here. Spacey, as Prot
(as in protagonist, protozoa and prototype), is a man
who claims to be an alien brought to Bridges' head doctor
because he is assumed to be delusional. As Bridges'
doctor begins to unravel the mystery of the man calling
himself Prot, he also begins to question whether the
man is delusional or a real alien.
What is nice about this set-up is that there is no
real overbearing drama here. While Spacey's Prot is
considered insane even when he exhibits enormous mental
and intellectual feats, there is no one here who really
wants to do anything radical like give him a lobotomy
or enormous amounts of drugs. The way his "case" is
handled is really rather realistic. Sure, the mental
hospital where he is sent seems inordinately clean and
well run. And while a little drama comes into play,
it is more in the area of hospital politics than anything
else. Also, the government doesn't get involved nor
does any other typical pretense come into play. All
this has been done before. "K-PAX," instead, concentrates
on the doctor/patient relationship and finds a sort
of mystical magic in its unraveling enigma about human
psychosis and grief. In the long run, it becomes a sort
of beautiful thesis on the importance of family and
humanity. It does all of this quite nicely.
Sure, the script by Charles Leavitt is a little contrived
at times. We can see a few things coming, but these
contrivances do not really ever negate the beautiful
story and wonderful acting we are seeing here. My only
complaint with the script is that it makes it a bit
too easy to believe that Prot is really a human suffering
delusion and split-personality and not a K-PAXian. But,
I suppose, this is somewhat necessary to compel us to
suspend disbelief and accept the possibility that Prot
may indeed be an alien. He may even be an angel.
The direction by Iain Softley, of "Backbeat" and "The
Wings of the Dove" fame, is quite nice. There's a really
cool device used throughout the film of filtering light
through prisms so that interesting things happen on
the film image. This is relevant since Prot insists
that K-PAXians travel on light beams. This continual
playing with light consistently reminds us of how primitive
human knowledge of science remains and how vast and
wondrous the unknown remains. Prot is a living embodiment
of scientific possibility. He is as much about the future
of man as he is about hope and love.
But the most wonderful thing about "K-PAX" overall
is Spacey and, to a somewhat lesser extent, Bridges.
These two remarkable American actors again prove themselves
to be of inordinate, almost un-human, talent.
Note:
Also with Alfre Woodard, Celia Watson, and Conchita
Farrell.
Based on a novel by Gene Brewer. Considered a remake
of a 1986 Argentinean film called "Man Facing Southeast."
Pop songs include a tune by Sheryl Crow over the end
credits and Elton John's "Rocket Man," which is used
somewhat humorously.
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Report
Card
Script:
A-
Acting: A+
Cinematography\Lighting: A+
Special Effects\Make Up: A+
Music: A+
Final
Grade: A
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