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It is a commonly believed myth that humans only engage 10% of their brain’s capacity. It is a favourite of science fiction speculation; just imagine what could be achieved if we could tap into that dormant 90%. The latest and most outrageous film to ponder this question is Luc Besson’s Lucy.
Lucy is an American student living in Taiwan who, thanks to her new loser boyfriend, falls in with the wrong crowd. Abducted by a Korean drug cartel, they surgically implant a pouch of their new super-drug CPH4 into her stomach for her to smuggle into America. But the pouch springs a leak, and as the synthetic drug floods into her body it starts to unlock the full potential of her mind.
While a number of films have previously toyed with the 10% idea, Lucy must be the most far-fetched exploration we have seen. As Lucy’s brain function increases, rather than becoming an ultra-high functioning human, she becomes almost godlike. She can read minds, manipulate time and space, and defy gravity. This is quite a leap to take, and the film does not offer adequate justification for what we are seeing. Usually a movie like this would engage some sort of pseudo-science (i.e. the DeLorean can travel through time because it has a ‘flux-capacitor’), but even Morgan Freeman’s character Prof. Norman, whose lecture on the potential of a fully functioning human brain is intercut with Lucy’s experiences, admits his theories are just hypotheses with no actual scientific proof supporting them.
The silliness of this premise wouldn’t be such a problem if the film didn’t take itself so seriously. Lucy seems to believe it is making profound philosophical points about the very nature of existence, but it is not. There are moments of humour in Lucy, and it is surprisingly simple humour. Were the rest of the film delivered in the same tone, embracing its silliness, it could be quite a fun movie. But because the majority of the time it takes its premise so seriously, it is hard to enjoy.
The other problem Lucy’s godlike powers create is that with every action sequence there is less at stake. The more powerful she becomes the less legitimate tension can be created by the illusion that she is in danger.
Despite all this, one cannot deny that Besson certainly had a clear vision. For all its faults, Lucy is a bold and interestingly executed film. Besson employs an almost impressionist montage style to bring his themes to the fore. When we first meet Lucy, as her boyfriend is trying to convince her to deliver a suitcase to the mysterious Mr. Jang for him, we momentarily cut away to an image of a mouse carefully approaching a sprung trap. As Lucy enters the hotel with the case, the scene is intercut with footage of a gazelle on the savannah being circled by cheetahs. This stylistic approach – far and away the most interesting thing about the film – continues throughout, being used to illustrate Prof. Norman’s theories, and results in film which feels like Tree of Life spliced with Salt.
Misrepresented in advertising so as to look like an all-out action movie with a butt-kicking heroine, this will undoubtedly help its box office takings but result in a number of miffed customers. Part science fiction, part action movie, part philosophical rumination, Lucy does not really satisfy as any of them, and for a film about unlocking the potential of the human brain, it manages to be quite dumb.
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