It's not unusual for people to have dreams or nightmares that are so vividly realistic that upon waking, one often has to take several minutes to come to the realization that what they dreamt was not real. However, the intensity of such nocturnal activity, that's usually confusing, bewildering and occasionally suspenseful, would considerably be increased if one could no longer differentiate their waking and dreaming worlds.
That's just part of the premise of the Spanish made "Open Your Eyes," a haunting, mesmerizing and mind-blowing experience that will likely confuse moviegoers -- in a good way -- as much as the main character finds himself in that same predicament. Originally released in Spain in 1997, the film had a limited release in the U.S. two years later and was then remade by Cameron Crowe and Tom Cruise as 2001's inferior "Vanilla Sky."
Reminiscent of reality bending movies such as "Total Recall," The Game," "Jacob's Ladder" and the more recent "The Matrix" and "eXistenZ," but far superior in many aspects -- notwithstanding the special effects of its bigger budgeted Hollywood brethren -- the film begins, after a short, but effectively creepy dream, with what appears will be an appealing romantic drama. That's simply an expository subterfuge, however, to lull the viewer into a false sense of security about what's to come.
Soon the plot begins to jump back and forth through time and one begins to realize that the visualized dreams may or may not be reality. To say anything more about the details would ruin the "fun" to be experienced while watching the movie. Suffice it say, about an hour into the film, everything goes haywire and for those trying to keep track of what's happening -- or REALLY happening -- they'll need a big scorecard to follow the many twists and turns that follow.
Unlike "eXistenZ" that has a similar, all encompassing and revealing ending, this film isn't intentionally made to appear sloppy, nor is it as boring as that blood and gore fest. Instead, "Open Your Eyes" is nothing short of riveting and is probably one of the spookiest films to be released in years, although not in your typical haunted house/horror fashion.
From the creepy score by Mariano Marín (and writer/director Alejandro Amenábar), that's occasionally quite similar to that heard on TV's "The X-Files," to the overall way in which the plot develops, the film simply gets under your skin and will stick with you long after you see it.
Now, it's always possible that some may complain about the film continually and intentionally misleading or toying with the viewer regarding what's real or not. If so, they'll be missing the point, all of which stems from the fun of misdirection.
Something akin to going through a house of mirrors where reality is bent and nothing is ever as it seems, the proceedings might frustrate some, although most will probably get a kick out of the picture even if they do have a devil of a time trying to figure out what's transpired or will happen. Even your trusty critic -- the viewer of most every plot twist and turn known to Hollywood -- guessed wrong about the film's ending, although it was a pretty good and close guess if I do say so myself.
Of course, that's writer/director Alejandro Amenábar's goal, and he (along with co-writer Mateo Gil) successfully deliver the goods, while also touching on subjects such as vanity and whether superficial beauty is "real" beauty or not (the symbolic theme of what's real and what isn't runs throughout the film).
Having already made a splash with his 1995 debut feature, "Tesis" (that won seven Goya awards -- the Spanish equivalent of the Oscar), Amenábar precisely helmed this picture in such an unconventional but audience pleasing manner that his terrific English-speaking follow-up, "The Others," wasn't a surprise, at least in terms of overall filmmaking quality and not the twisty ending.
The performances are just as good with Eduardo Noriega ("Tesis") delivering a compelling and moving take as a man confronted with multilayered problems. From the handsome, devil-may-care playboy to the disfigured and increasingly paranoid man, Noriega perfectly plays the role (even from behind a mask), often reminding one of a more panicked version of John Hurt in "The Elephant Man."
Equally as good is the ravishing Penélope Cruz (who reprised her role in "Vanilla Sky") as his love interest. Part of what makes their performances so great is the chemistry between the two that never feels forced or fabricated. As such, Cruz creates a lovable and sympathetic character who, after understandably having problems with César's "new look," manages to see beyond that.
Supporting performances are also strong, ranging from Fele Martínez's believable take as César's initially less handsome friend who gets something of a comeuppance, Chete Lera as the sympathetic psychiatrist with an interesting development at the story's finale, and Najwa Nimri who gives Glenn Close a run for her money in the "don't jilt me or else" department.
For viewers who crave original and unconventional films, this one should fit the bill as it crosses and blends many genres, but is equally compelling, haunting and nothing short of a blast to watch.
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