Not everyone will like it, of course. There isn't a Cronenberg fan on the planet who could honestly say he loves all of the director's movies. And that's a testament to the risks he's taken from the beginning of his 37-year career.
The Toronto native started in the 1970s with a series of gory, low-budget shockers sprinkled with subtle social and political commentary. "The Brood," for example, may be the most disturbing (and gruesome) movie ever made about divorce. And in "Shivers" (retitled "They Came From Within" for its U.S. release), the zombies want to rape rather than devour you.
Those cheap, artful movies were profitable enough to earn Cronenberg bigger budgets, and two early '80s sci-fi pictures heightened his profile: "Scanners," with its infamous exploding head, and "Videodrome," a surreal exploration of voyeurism and technology that featured Deborah Harry as a soft-spoken sadomasochist.
But Cronenberg didn't really enter the mainstream until the one-two punch of "The Dead Zone," a well-received adaptation of the Stephen King novel starring Christopher Walken, and "The Fly," an Oscar-nominated study in body-horror that doubled as a metaphor for AIDS. Their critical and commercial success seemed earn him a perch in the Hollywood echelons, proving he could make technically polished pictures and draw strong performances from actors.
And then he walked away from big pictures and returned to personal ones: "Dead Ringers," his disquieting study of twins (played by Jeremy Irons); "Naked Lunch," a hallucinatory fantasy inspired by William S. Burrough's novel; "M. Butterfly," his disastrous adaptation of the acclaimed play; and "eXistenZ," a sci-fi fantasy about virtual-reality games that, like "Videodrome," seems uncannily prescient today.
The same can be said of DeLillo's 2003 vision of anti-capitalist riots, terrorist attacks and fortunes lost to sudden economic shifts.
"It's amusing to go back and read some of the reviews of that novel, because a lot of the critics said 'Oh, these demonstrations on Wall Street are so unconvincing!'" Cronenberg says. "That stuff seemed like fantasy and made it difficult to relate to. And now, of course, things have changed."
Cronenberg says that when he spoke to DeLillo about the novel, the author revealed the book was born out of mundane questions. "He was interested by the idea of limos. Why would someone have such a long, clumsy vehicle on the tight streets of New York? Where do all those limos go at night? Stuff like that. He wasn't anticipating an economic meltdown when he sat down to write."
For Cronenberg, too, the inspiration to adapt "Cosmopolis" sprang not from grand themes but subtle detail.
"I was simply taken by the dialogue. It's a bit like David Mamet or Harold Pinter, because it's realistic on one level - it sounds like the way people speak ... but it's also very stylized. When I transcribed it into screenplay form, it gave the movie an incredible cohesion and resonance. That's when I asked myself, 'Is this a movie?' And I thought, 'Yes. It's a really interesting movie.'"
Nearly all of the dialogue is lifted from the book, which meant the actors had to sound natural while saying lines like, "We're all young and smart and were raised by wolves. But the phenomenon of reputation is a delicate thing. A person rises on a word and falls on a syllable."
For Pattinson, the unusual cadences and word choices felt liberating.
"I felt a physical connection with the writing - I thought it was so good - and I wanted to read it aloud as soon as I got the script, just to see how it sounded. It is so perfectly written. I loved the fact that I didn't need to put my personal stamp on it as an actor. I just had to perform it in the truest way possible."
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