“Since records began, 215,673 people have sworn that the world is going to end. It only takes one of them to be right…” promotion for the 1995 film Twelve Monkeys cautioned. In this installment I shall explore Gilliam’s post-apocalyptic time-travel story in relation to the issues raised in previous sections (space constraints decreeing that the film in its complex entirety cannot be dealt with here). As a result, I shall focus on the inherent dangers of postmodern attitudes to consumerism and technology, and their impact on perceptions of reality as Gilliam lays them before us. It will become apparent that both the societal breakdown of Fight Club and the technological dependence of The Matrix are prevalent in contemporary American society- and lead directly to its future underground.
[3:1]Any discussion of Twelve Monkeys must be aware of the possibility that rather than a time-loop paradox the entire narrative may simply be a prolonged psychotic episode. This is a possibility that the director deliberately kept to the fore by keeping the details of the future vague enough to have them simply be the product of James Cole’s (Bruce Willis) deranged mind (McCabe 167). That Cole’s psychiatrist in 1990, Dr. Kathryn Railly (Madeleine Stowe), who is our anchor in the world of the film as she shares the ‘present’ with us (McMahon 148) comes to believe in Cole may prove only that madness is contagious. However, it may suggest he is telling the truth, since the first reminder of this contagion comes from mental patient Jeffery Goines (Brad Pitt), who imagines insanity “…oozing into the ears of all these poor sane people, infecting them- wackos everywhere, plague of madness!” We are once again in the realm of uncertainty fostered by the breakdown of the cinematic reality already dealt with in Videodrome (and which has been Gilliam’s stock in trade since his Monty Python days).
The ceaseless linking of the post-apocalyptic world with contemporary society is problematic as a result of this breakdown of cinematic reality. The visual themes used to link the various temporal plains of the film- most notably the chicken wire that seems to cover every surface- serve to complicate matters further. For instance, is Cole imagining imprisonment in a wire cage in 2035 because he is already in an asylum with wire-coated windows? We are asked to question the likelihood of a time-traveller experiencing virtually the same sequence of events across the divide of forty-five years (Cole is roughly scrubbed down prior to facing a panel of scientists in both 2035 and 1990). As we are never at ease in any of Twelve Monkeys‘s realities, perhaps we are the monkeys that are being experimented upon. This is heightened by the allusions to Vertigo, which foreground the possibility the whole story is merely an elaborate deception (Strick Monkeys 46)i. Continue reading “Welcome to the Desert of Real: No Future for You”