THE FOUNTAIN (2006), dir. Darren Aronofsky

Drubbed by a lot of critics when it first came out, it’s possible to see why “The Fountain” has mostly been forgotten. Given the premise, the quest for a way to defy death, as well as the titular reference to the fabled Fountain of Youth, one expects high adventure in the “Raiders of the Lost Ark” mold. But although the film’s canvas is vast and there are a few scenes involving swordplay, this is a highly-personal drama built mostly around two characters.

Still, there’s plenty to appreciate about “The Fountain,” starting with the craftsmanship of Aronofsky, who also wrote the screenplay. It’s his third film overall, and the follow-up to his critically-acclaimed “Requiem for a Dream,” in which the legendary Ellen Burstyn – who has a small role here as well – crawled through grimy subway stations under the influence of diet pills.

As in “Requiem,” which made drug addiction seem scorching and personal, Aronofky takes a potential epic and presents it in a surprisingly intimate style. Most of the film consists of first-person point-of-view shots from the perspective of his two leads, Hugh Jackman and Rachel Weisz. Despite the presence of a few ancillary characters, they are clearly the focus, even as the film crisscrosses between the Spanish Empire, the modern world, and the celestial heavens.

In one of the three storylines, Jackman and Weisz play a couple named Tommy and Izzy Creo, respectively, and their performances ground the film emotionally. We care about their love story, which faces one of the most familiar obstacles in the history of romance: coming to terms with one partner’s death. But “The Fountain” has its heart in the stars, and Aronofsky, who previously showed a gift as a visual poet, finds the eternal within the ordinary: endless waves in a wallpaper pattern; streetlights extending into the distance.

One of the best set-ups involves a dark room with small, hanging lanterns resembling stars, making it appear as if Jackman takes a walk through constellations. There are also quite a few camera shots looking down on people’s heads, which makes sense in the context of the film, since characters are constantly looking into the faraway distances, both for and at the answer to their questions.

I’ve spent the last few paragraphs noting the aesthetics in “The Fountain” and trying not to give away much more. Truly, this is a movie to be experienced, but has a message that can be understood by nearly everyone. However, if you’ve ever read Mary Shelly’s “Frankenstein,” there will be a shudder of recognition when one character, who is a doctor, says, “Death is a disease, it's like any other. And there is a cure. A cure. And I will find it.”

Things don’t end quite the way “Frankenstein” did, although there is one special effects scene in which Aronofsky, in keeping with his reputation as an innovator, successfully meshes the lush, beautiful, and grotesque. Now I really won’t say more except “The Fountain” will likely anger and frustrate some, while others will find themselves moved, maybe even more appreciate of life and what they have.

Overall rating: **** (out of ****)