Based on the novel of the same name by J.G.Ballard, High-Rise is a movie that will divide audiences in more ways than one. Taking place in an alternate London in 1975, Ben Wheatley has been able to perfectly capture the 70s aesthetic, with murky interior designs and flamboyant duds dominating the mis en scene. However it’s the brutalist brick tower block that really stands out as it protrudes the skyline like a sore thumb of oppression. A formidable sign of the era, there’s a bleak, overhanging sense of dread from the get go as we enter the structure that’ll soon become not just their home but their battleground.
Tom Hiddleston takes centre stage as the elusive Dr. Robert Laing, who shines in this darkly dystopian tale of social divide. He’s charismatic, charming but slightly off-kilter, who never really fits in with the inhabitants. Luke Evans portrays the bombastic Richard Wilder, a documentary filmmaker, with plenty of gusto who seems to be a man tinkering on the edge of sanity. Then there is Sienna Miller who plays the love interest, Charlotte Melville, who is both strong and independent whilst being an object of primal desire amongst the main cast. Finally we also have Jeremy Irons who stars as Anthony Royal, the wealthy architect who is responsible for the creation of the High-Rise. A strangely likeable but flawed character who watches the deterioration of his project like some sort of mad scientist.
High-Rise is at its best when it concentrates on the social satire of the times and considering the novel was written in 1975, it’s surprising how relevant it is in context to today’s society, especially when one takes into account the recent political events that has plagued this country. Class issues are rarely dealt with in mainstream movies and when they are, they’re mainly patronising portrayals. High-Rise instead focuses on a whole society and shows how we’re all capable becoming savages. With plenty of dark humour scattered throughout, High-Rise will have many people chuckling away, however there are times when the movie begins to lose focus and trail off into a series of vignettes, which neither move the story forward or contribute to the overall atmosphere. With the running time just shy of 2 hours it seem’s as if it the script could have done with a trim in order to bring out more of the satirical edge and give the movie a real punch.
From a narrative standpoint, High-Rise does come off as a little weak due to the lack of connection when it comes to the characters. As life in the high-rise begins to degenerate with minor power failures and petty annoyances amongst neighbors beginning to get out of control, an orgy of violence erupts, changing everyone in the process. With characters beginning to abandon all social and moral etiquette, they then begin to embrace their primal nature. With everyone fending for themselves it’s hard to connect with any of the characters especially when one considers Dr. Laing’s self exiled, disconnection from everyone else. The sudden madness that consumes the block also feels a little rushed, which is mainly due to a lack of build up and instead of a foreboding series of events, we’re simply given a mad frenzy of blood and destruction.
Overall High-Rise is a visually spectacular movie that is daring, dark and full of charm. Clint Mansell’s music captures the tone perfectly and I don’t think I’ll be forgetting the haunting cover of Abba’s ‘SOS’ in a hurry. Unfortunately however there is a disconnect which makes it hard for audience members to actually care about what’s going on. That combined with the fact the whole thing doesn’t feel entirely cohesive, what we’re left with is something that is going to split audiences due to the fragmented nature of the story. Well worth a watch if you’re a fan of Ben Wheatley’s previous work or enjoy an absurdist piece of fiction however if you’re looking for an easy watch then this will probably not be for you.