Class war fought one floor at a time

Retro thriller set in skyscraper recalls '70s

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Brutalist architecture is named not for its association with brutal cement institutional buildings of, say, prisons (or a certain Public Safety Building). The root of the word — brut — is the French word for raw, as in raw concrete. Its unyielding, hard-edged utilitarian look made it popular in the 1960s and ’70s for government buildings... and high-rise apartments.

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Hey there, time traveller!
This article was published 27/05/2016 (3731 days ago), so information in it may no longer be current.

Brutalist architecture is named not for its association with brutal cement institutional buildings of, say, prisons (or a certain Public Safety Building). The root of the word — brut — is the French word for raw, as in raw concrete. Its unyielding, hard-edged utilitarian look made it popular in the 1960s and ’70s for government buildings… and high-rise apartments.

High-Rise, director Ben Wheatley’s adaptation of a 1975 J.G. Ballard novel, does ramble a bit, but it effectively connects the dots between brutalism and brutal social constructs with its titular structure, a monstrous, self-contained apartment complex that makes it unnecessary for its inhabitants to ever have to leave home.

Taking occupancy on the 25th floor is Dr. Robert Laing (Tom Hiddleston), a physician recovering from a personal tragedy. He embraces the patriarchal philosophy behind the towering phallic symbol in which he lives, going as far as to befriend its prickly upper-crust architect Anthony Royal (the patrician Jeremy Irons is well-cast). Royal lives in an idyllic penthouse, complete with its own horse pasture.

But the building is perhaps too much a model of a stratified class system. The residents of the lower floors suffer power outages and service failures. They can access some amenities, such as a swimming pool, only when the wealthier occupants of the upper floors aren’t using them.

Before long, battle lines are drawn, with a de facto revolutionary leader — a documentary filmmaker named Wilder (Luke Evans) — rising while the privileged denizens up top start to close ranks. Caught in the middle, Laing suffers an emotional breakdown coincident with an ever-spiralling social breakdown. The beginning of the film, in which Laing is seen spit-roasting someone’s pet dog on a balcony, offers a preview of where it all will lead.

The film has future-apocalyptic implications, but director Wheatley anchors the film in ’70s style that feels queasily accurate, encompassing everything from Wilder’s rock-star hairstyle and the cold, hard esthetic of Royal’s modernist dwelling.

Wheatley goes one better, deliberately invoking the dynamics of ’70s cinema, especially in its protagonist.

No man of action, Laing is damaged and baffled, suffering existential crisis and reminiscent of the kind of character played by Al Pacino, Dustin Hoffman or Jack Nicholson, before Rocky/Rambo hijacked the Hollywood hero for his own reactionary purposes.

SODA FILMS
Jeremy Irons and Sienna Guillory help anchor the film in 1970s style.
SODA FILMS Jeremy Irons and Sienna Guillory help anchor the film in 1970s style.

In this regard, one must admire Hiddleston for eschewing the more conventional hero parts that are doubtless his for the taking these days. He dares to be unsympathetic.

In short, for all the radical intentions of High-Rise, its pleasures are decidedly nostalgic for anyone who wistfully recalls the Hollywood renaissance of the 1970s. Following the interesting precedents of his films Kill List and Sightseers, Wheatley proves once again to be a filmmaker worthy of attention.

 

randall.king@freepress.mb.ca Twitter: @FreepKing

SODA PICTURES
Luke Evans gets dirty during his climb up the revolutionary ladder.
SODA PICTURES Luke Evans gets dirty during his climb up the revolutionary ladder.
Randall King

Randall King
Writer

Randall King writes about film for the Winnipeg Free Press.

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