How Twelve Monkeys built on the legacy of La… | Little White Lies

In Praise Of

How Twelve Mon­keys built on the lega­cy of La Jetée and Vertigo

14 Oct 2018

Words by Adam Scovell

Statue of a firefighter in winter gear, standing amidst snowy branches, holding a briefcase.
Statue of a firefighter in winter gear, standing amidst snowy branches, holding a briefcase.
Themes of mem­o­ry and death lie at the heart of Ter­ry Gilliam’s dystopi­an time trav­el saga.

Some­times a retread of an old­er film can be more than a remake. Ter­ry Gilliam’s Twelve Mon­keys is one such film. It is per­haps best described as a response, if only because it is already build­ing on an echo and feels part of wider cre­ative con­ti­nu­ity that trav­els back sev­er­al decades. Said response is to Chris Marker’s 1962 short pho­to-roman’ La Jetée, and the echo is Alfred Hitchcock’s Ver­ti­go. The film is part of that spi­ral of mem­o­ries, cin­e­mat­ic or oth­er­wise, com­pli­cat­ed fur­ther by the fact that all of the works in ques­tion are also deal­ing with mem­o­ry as a theme. Memory’s final­i­ty and its prox­im­i­ty to death are at the heart of all three films.

Expand­ing on La Jetée’s nar­ra­tive, Twelve Mon­keys fol­lows a pris­on­er named James Cole (Bruce Willis) from a future that has been all but wiped out by the release of a dead­ly dis­ease in 1996. He agrees to par­take in time trav­el exper­i­ments con­duct­ed by the mil­i­tarised sci­ence unit in charge of try­ing to find a cure for the dis­ease. He is first sent back to 1990 where he ends up in an insane asy­lum, meet­ing fel­low patient and ani­mal rights activist Jef­fery (Brad Pitt) and doc­tor of psy­chol­o­gy Kathryn (Madeleine Stowe).

Inter­twin­ing him­self in both of their lives, Cole trav­els back and forth between the future and sev­er­al dif­fer­ent peri­ods, get­ting clos­er and clos­er to the truth behind the out­break of the virus and its link with a mys­te­ri­ous sect known as the Army of the Twelve Mon­keys.” Lit­tle does he know, how­ev­er, how enmeshed he real­ly is with­in the events of history.

Gilliam is respect­ful to both Mark­er and Hitch­cock. When Marker’s cred­it appears in the open­ing sequence, an owl – one of the director’s two ani­mal ciphers – soon fol­lows, look­ing on wise­ly over an aban­doned, snowy Philadel­phia. As Gilliam has sug­gest­ed, Marker’s film is one of the heights of the form: The edit­ing is the most extra­or­di­nary I’ve seen […] I mean you’re deal­ing with poet­ry at this point.” Ver­ti­go is also very much a part of Twelve Mon­keys, part­ly as respect to Marker’s project and part­ly as inter­twined in the nar­ra­tive. This cre­ates a com­pli­cat­ed, if not slight­ly flawed, web of dizzy­ing cul­tur­al ref­er­ence with the addi­tion of Gilliam’s usu­al eye for the grotesque and the paranoid.

It is, how­ev­er, dif­fi­cult to see Twelve Mon­keys as sep­a­rate from the cul­tur­al echo that it is part of. In fact, it delib­er­ate­ly plays upon it, self-ref­er­enc­ing these influ­ences and fore­shad­ows until it is evi­dent that its more pulp ele­ments are there to bal­ance these numer­ous ref­er­ence points. Con­sid­er­ing Marker’s orig­i­nal film is a good start­ing place for untan­gling this ref­er­en­tial spi­ral. Though deal­ing with a sim­i­lar nar­ra­tive of time trav­el and para­dox­es that fold in upon them­selves, La Jetée is equal­ly about Marker’s per­son­al search for some­thing else; name­ly the spark that inspired his love of Ver­ti­go. Marker’s film is replete with ref­er­ences to Hitchcock’s film, from the pho­to­graph of the two char­ac­ters tem­po­ral­ly map­ping them­selves on the rings of a tree trunk, to the cir­cu­lar sway of his female lead’s hair.

Mark­er has reg­u­lar­ly acknowl­edged his pre­oc­cu­pa­tion with Hitchcock’s film, by his own admis­sion link­ing La Jetée to Ver­ti­go lat­er in Sans Soleil where he sug­gests in his voiceover that, only one film has been capa­ble of por­tray­ing impos­si­ble mem­o­ry, insane mem­o­ry: Alfred Hitchcock’s Ver­ti­go.” This aspect of insan­i­ty is impor­tant for Gilliam’s spin on the mem­o­ry spi­ral. Time and its para­dox­es are lit­er­al­ly mad­den­ing, trans­port­ing the cen­tral pro­tag­o­nist to an insane asylum.

For Gilliam, this is the hook for the blurred line between mad­ness and real­i­ty, desta­bilised by the time trav­el. Of course, like any para­dox, the insta­bil­i­ty is a sham as every­thing is fore­told and already fixed. He thinks he is chang­ing the mem­o­ry of the past but he was always a part of it. Ver­ti­go already played on this to some extent – the past was already set and the future that Scot­ty (James Stew­art) tried to remould from it after his sec­ond encounter with Judy (Kim Novak) was always des­tined to col­lapse. The tragedy was that he had to live the inevitable death of his obses­sive love twice over.

In Twelve Mon­keys, Gilliam actu­al­ly brings Ver­ti­go itself into the mix, with Cole and Kathryn watch­ing the film while on the run. I think I’ve seen this movie before,” he says to her as it becomes appar­ent that he’s liv­ing in a world that is a lit­er­al echo of Hitchcock’s Boileau-Nar­ce­jac-adapt­ed nar­ra­tive. At this point, they are final­ly get­ting clos­er to the air­port of Cole’s dream­ing from child­hood. Kathryn has donned a blonde wig as a dis­guise, giv­ing Cole his own echo of Judy Barton’s final trans­for­ma­tion back into Madeleine Elster. Kathryn even uses the name Judy as an alias once at the airport.

Madeleine is appro­pri­ate­ly named in the orig­i­nal D’entre les Morts’ nov­el, for it hints fur­ther down the spi­ral towards anoth­er memo­r­i­al device: In Search of Lost Time’ by Mar­cel Proust. Mar­cel Proust’s rec­ol­lec­tions in his long nov­el of remem­ber­ing are insti­gat­ed large­ly by the taste of a Madeleine cake con­jur­ing images of his past, lead­ing the writer to exclaim And sud­den­ly the mem­o­ry revealed itself.” The emo­tions of his past were inescapable and unavoid­ably wrapped up in the small­est of details. Scotty’s Madeleine Moment” came from see­ing Judy in the street, part­ly but unknow­ing­ly recog­nis­ing her. Lit­tle does he know that, in Prous­t­ian terms, it is the same Madeleine.

In La Jetée and Twelve Mon­keys, the Madeleine is the woman ghost­ed by the trav­eller, the woman he has seen since child­hood cry­ing out as she wit­ness­es his old­er self killed. This is a mem­o­ry of the future. Kathryn may be Cole’s Madeleine, but she only rep­re­sents one thing, the same thing that it ulti­mate­ly rep­re­sent­ed for Mark­er, Scot­ty and for Proust him­self: the inevitable loss that vis­its all of our lives, reg­u­lar­ly and unsparingly.

Twelve Mon­keys is released on Blu-ray on 15 Octo­ber by Arrow Video.

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