While it hasn’t been entirely forgotten, 1997’sGattacais often overlooked in lists of the greatest sci-fi films. In recent years, critics have cited it as ahead of its time; still, it hasn’t made a huge comeback. But, given how similar it is to many of Christopher Nolan’s greatest films, it might deserve one.
Of course, that claim comes with a lengthy disclaimer: Nolan has never spoken aboutGattacaas an influence. It doesn’t have massive plot similarities with any of his work. And comparingevery smart sci-fi movie that comes alongto something Nolan made would be a criminal act. ButGattacahas all the things that make Nolan’s films such big box office draws, and the connections are impossible to ignore.
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Gattacatakes place in a future where parents can choose their childrens' genetics before their children are even born. Society frowns upon so-called “natural births” due to the chance of the child becoming an “in-valid”; a genetically inferior human.Vincent Freeman (played by Ethan Hawke)is one of these in-valids – his doctors predict he’ll live for just thirty years. He has to find work where he can; “important” jobs are only for those who the system deems valid. But Vincent has a dream: he wants to go into space. And in desperation, he finds a chance ally who just might make his dream a reality.
One ofGattaca’s main themes is trying to control the path that fate has chosen for you. In Nolan’sTenet, the characters are able to travel through time, but what happens in the future cannot be changed.Nolan’s version of Batmanoften struggles with the idea of destiny in relation to his own status as protector of Gotham. And inMemento, Leonard Shelby manipulates fate to find his own purpose, in a way. Something out of their control binds each of these characters, but they each try (sometimes vainly) to change things. So they can keep living.
Vincent pays to pose as a valid named Jerome Eugene Morrow. Jerome was once a champion swimmer; now, a car crash has left him paralyzed. Using Jerome’s DNA makes it easy for Vincent to get his dream job at Gattaca Aerospace Corporation. Still, he has to go to extreme measures to hide his true identity. Many of Nolan’s films focus on people hiding behind a mask of some sort;Batman being the obvious one. InThe Prestige, an elderly magician feigns frailty simply to pull off a trick. Of course, no matter the cost, perfecting the trick is his goal. His dedication to a singular dream is so great that he’ll hide his true self to accomplish it.
The competition between Vincent and his brother Anton also echoesThe Prestigeat many points. Anton, whose genetics were “selected” unlike his brother’s, is superior to Vincent in every way except raw spirit. When they’d play “chicken” as children, seeing who could swim out the farthest before returning back, Anton always won. Until one day, when Vincent’s determination to win finally paid off. Possibly self-destructive commitment similarly decidesthe duel between magicians Angier and Borden inThe Prestige. Thinking only of the journey to illusion (or, in Vincent’s case, outer space), not the journey back from it.
Ultimately,Gattaca’s greatest resemblance to Nolan’s films lies in its style, not in its substance. While it’s dense with philosophical ideas, it’s also a very appealing film to look at. The style is reminiscent of Nolan’s own spaceflight movie,Interstellar, though shorter and with fewer locations. And that’s not a slight in any way; the art design inGattacahas its own, almost mathematical beauty. And the love for architecture present throughout Nolan’s work, particularly inInception, also shows itself inGattaca.
Nolan’s films often portray the future as a place with less hope and fewer answers than the past. WhileGattaca’s dystopiaowes more to films likeBlade Runner, it has the same dismal outlook. But it’s worth noting thatGattacadoesn’t fall into many ofthe traps Nolan’s films are susceptible to. There’s no dead wife (although it could be argued the female lead is underdeveloped), no blaring music over the dialogue. The narrative manages to hit all the appropriate beats without being impossible to follow. The characters blend genuine emotion with their philosophical dialogue.
Jerome, played byJude Law, is perhaps the most believable as a “Nolan” character. He’s a well-dressed, smooth-talking British man who’s struggling with his own identity and purpose. Films such asTenet,Inception, and even Nolan’s debut,Following, feature this archetype. As an interesting side note: Nolan hadplanned to cast Jude Law inThe Prestige. But director David O. Russell also wanted to cast Law in his next film. So Russell did what anyone in his position would do; he found Nolan at a Hollywood party andput him in a headlock. Sure enough, Law would go on to appear in Russell’s film,I Heart Huckabees.
Gattacais not a film for people who want something that’s narratively as close to Nolan’s work as possible. For that, they should look atNolan’s own recommendations, like 1998’sDark City.Gattacais for people who want a film that captures the vibe, or the “experience” of watching a Nolan film. There aren’t many better recommendations out there.
