Great Hollywood actors’ strike is just about to end with tentative deal between SAG-AFTRA labour union and Alliance of Motion Picture and Television Producers. The issue that made this labour dispute the longest and most financially exhausting in history of American cinema was is AI and its ability to recreate people on screen without their direct participation, thus making actors increasingly obsolete or likely to be exploited by studios long after their deaths. Those issues were, somewhat ironically, covered by Hollywood itself in now obscure film that approached them in satirical way. It was Simone, 2002 science fiction comedy written and directed by Andrew Niccol.
Protagonist is Viktor Taransky (played by Al Pacino), an old film director whose latest project begins to fall apart after the capricious star Nicola Anders (played by Winona Ryder) has left the set. Rescue comes in the form of revolutionary computer program given to the director by Hank Aleno (played by Elias Koteas), mortally ill tech wizard and Taransky’s great fan. Taransky uses it to create completely artificial person he calls “Simone” (played by Rachel Roberts) and uses its image and motion capture technology to replace Nicola Anders. Simone proves to be superior to flesh and blood actresses not only in her stunning look, but also enhanced acting ability, willingness to follow Taransky’s direction to the letter, perform most dangerous stunts and scenes involving nudity. The film is great success, but Taransky, who didn’t tell anybody who Simone really is, now has to deal with legions of adoring fans and media who desperately want to get in touch with new shining star of Hollywood. Faced with increasingly difficult task of maintaining illusion, Taransky also has to deal to keep secret from his closest associates, including producer and ex wife Elaine (played by Catherine Keener) with whom he tried to reconcile for the sake of their daughter Lainey (played by Evan Rachel Wood).
New Zealand film maker Andrew Niccol looked like a perfect person for this project due to his previous work as screenwriter of The Truman Show and director of Gattaca, two remarkable science fiction films that dealt with the themes of media manipulation, identity and long-term effects of modern technology on society. The film stars well, with Niccol using his film making experience and insider knowledge to give satirical portrayal of Hollywood, but the basic premises soon wears thin. Humour becomes too generic and bland, with characters of two tabloid reporters – played by Pruitt Taylor Vince and Jason Schwartzmann – looking like cliches. Subplot involving protagonist’s family looks too sentimental, making Simone too mellow for the film which was supposed to be biting satire of modern media and entertainment industry. Weakness of the script isn’t compensated even by Niccol’s occasionally stylish direction and good work of the cast. That includes Al Pacino whose forte definitely isn’t comedy, but who occasionally seems to having fun an artist who had the zenith of his career in 1970s, a character with whom he can identify with. Niccol originally wanted to make the basic premise as close to the reality and there was a plan to create artificial actress for Simone, just like the one used in fictional film. The plan was abandoned by producers, fearing reaction from SAG, which was likely to be as displeased with pixels replacing their union members as they are now. Niccol instead chose Canadian supermodel Rachel Roberts who indeed looks like someone’s ideal of physical perfection, but whose acting ability might have left something to be desired. In any case, Simone is somewhat prophetic and mildly entertaining film, but frustratingly below its proper potential. But it wasn’t all in vain, at least for Niccol, who, unlike his fictional counterpart, had extremely good relationship with its main female star, later getting married with her in real life.
RATING: 5/10 (++)
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