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Review: Surrounded by beauty, the world mysteriously unravels in ‘The Universal Theory’

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Review: Surrounded by beauty, the world mysteriously unravels in 'The Universal Theory'

As a cinephile who has spent countless hours immersed in the labyrinthine world of cinema, I must say that “The Universal Theory” is a captivating and thought-provoking addition to the pantheon of art thrillers. The film’s atmospheric setting against the Swiss Alps, reminiscent of the works of Antonioni, Welles, and Tarkovsky, creates an air of unease and intrigue that is further amplified by the Hitchcockian vibes and Diego Ramos Rodriguez’s enchanting orchestral score.

In everyday terms, it’s intriguing to think about, but it’s highly unlikely that we’re actually residing within the Matrix. However, when considering it from a cinematic perspective, we undeniably inhabit a world post-“The Matrix”, enamored by the concept of a multiverse. This is evident not only in the noise of superhero movies and the acclaimed “Everything Everywhere All at Once”, but also in the more magical atmosphere that surrounds the German film “The Universal Theory”. This movie, set against the ominous backdrop of post-WWII Switzerland, is an art thriller revolving around a prodigious quantum physicist and a secretive jazz pianist.

Title it “Black White” or high-tech sci-fi, or afternoon entertainment for Niels Bohr and Erwin Schrödinger enthusiasts. Indeed, it’s a captivating blend of the melancholic, existential films from that era. Co-writer and director Timm Kröger masterfully creates an atmosphere reminiscent of Antonioni, Welles, and Tarkovsky, while also infusing a generous amount of Hitchcock’s essence, primarily through Diego Ramos Rodriguez’s elaborate orchestral score, which could be a previously undiscovered symphony by Bernard Herrmann. (Roland Stuprich’s black-and-white cinematography adds significantly to the overall effect.)

Kröger’s first scene introduces a 1970s-style talk show where the nervous author, Johannes (Jan Bülow), declares that his popular book about multiple realities is not fictional. The host responds with casual skepticism. Next, we shift to the black-and-white TV screens of the early ’60s, following the intellectual but socially awkward PhD candidate Johannes (less spotty in appearance) as he works on his thesis, traveling by train with his stern professor Dr. Julius Strathen (Hanns Zischler) to a conference at a ski resort.

Johannes’ overseer is no fan of “metaphysical rubbish,” which is where the young man’s energies are directed, particularly toward the universal wave function that suggests the existence of multiple realities. At the hotel, Johannes finds a like-minded thinker in Strathen’s old rival, the bombastic Blumberg (Gottfried Brietfuss). But he is also drawn to a coolly beautiful, enigmatic musician, Karin (Olivia Ross), who improbably knows his deepest childhood secrets and likes to say things to Johannes like “Leave me alone” seconds before cooing, “Be careful” and kissing him.

There seems to be something very peculiar happening at this conference, with mysterious deaths, elevators behaving oddly and not functioning as expected, a surge of itchy skin diseases among attendees, the uncovering of hidden underground passages, and an unsettling suspicion that no one might be who they claim to be – or were, or will become. To top it off, it’s reminiscent of the distractions you faced while in school.

Enjoying Kröger’s cosmic playground of coincidence and fate doesn’t require a master’s degree in wave-particle duality. However, it’s important to note that the director, new to features, is not at David Lynch’s level of mind-bending genius. “The Universal Theory,” while long, tends to be more intellectual than emotionally engaging, despite its extensive retro score. The characters portrayed are more like representations than fully-fleshed personalities, which aligns with the complexity being depicted.

As a movie enthusiast, I found Kröger’s work remarkably reminiscent of classic cinema in its storytelling style and rhythm. He skillfully manipulates the familiarity of composition and narrative to keep us engaged throughout his captivating plot twists. The story takes an unexpected turn when it leaves snowy Switzerland for other locations, culminating in a cinematic adaptation of Johannes’ book that cleverly completes this life-mirrors-cinema theme. In essence, “The Universal Theory” is a tale woven with incidents, regrets, memories, and ghosts (and love for cinema), which feels right at home alongside one of Lars von Trier’s early masterpieces like “Zentropa” in a double feature. While it may not revolutionize your perspective, the intricately crafted themes of conspiracy and disorder will affirm that the spirit of art house cinema is very much alive and thriving.

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2024-10-12 01:33

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