Sometimes, a film is worth some second thoughts; first viewers of Darren Aronofky’s sci-fi epic The Fountain were quick to point out that this was not a commercial proposition; for sure, watching one of the main characters becoming a tree during the finale didn’t suggest the public would be champing at the bit. So it’s probably for the best from the POV of Warner Brothers that Aronofsky’s original $70 million version starring Brad Pitt and Cate Blanchett didn’t happen, but this discount $35 million version has much to comment it. Three stories are intercut, one involving Conquistadors, one involving a scientist who, tending to his dying wife, resolves to cure death itself, and one involving a space traveller. Hugh Jackman does what he can with various characters which are little more than ciphers, while Rachel Weisz has even less to play with as the object of his love. This is not the sci-fi universe of lazer-guns and action, but more of a Last Year in Marienbad-style mind-zonker, and judged within the latter terms, The Fountain works really well, with unique micro-photographed visuals and a Clint Mansel score. When discussing the film after the Venice Film Festival premiere, Aronofsky and Weisz seems to be not quite on the same page when discussing the film’s meaning, and critics were in the same boat; seen at a decade’s distance, The Fountain is a highly original if compromised artwork that should be retuned and revised. For those interested in spirituality, and re-incarnation in particular, a single viewing is not enough for this strange, mind-boggling epic, one of the greatest, grandest follies of recent cinema.