Film Review: The Thirteenth Floor (1999)

Film Review: The Thirteenth Floor (1999) | Ecency

(source: tmdb.org)

(SPECIAL NOTE: Capsule version of the review is available here.)

Fate of the film can be set by mere timing. What could have been an interesting, thought-provoking, intelligent, well-done and mostly entertaining film can be banished into oblivion simply for being released at the wrong time. This is what happened to The Thirteenth Floor, 1999 film directed by Joseph Rusnak. It could have been easily remembered as one of the classics of science fiction cinema if not for misfortune of coming to cinema shortly after The Matrix, film that used the similar basic premise with much bigger budget, bigger stars, bigger hype and, consequently, bigger success.

The plot is based on Simulacron-3, 1964 novel by of Daniel F. Galouye, one of the first literary works to deal with the concept of virtual reality. The novel was in 1973 adapted in World on a Wire, West German television miniseries directed by famed film maker Rainer Werner Fassbinder. The plot begins in 1937 Los Angeles where Grierson (played by Armin Mueller-Stahl) apparently lives a double life – by day he is modest bookseller a family man and by night he visits top night clubs and have good time drinking, dancing and having sex with showgirls. In one of those night clubs, aware that might not live for long, he gives message to bartender Ashton (played by Vincet d’Onofrio) to be given to some of his confidants. His fears are validated, but in 1999 Los Angeles where Grierson actually lives as Hannon Fuller, computer genius and billionaire running a company that developed revolutionary virtual reality program populated by “units” or avatars that look and behave like citizens of 1930s Los Angeles, unaware that they are part of simulation. Fuller used to “jack in” and take Grierson’s avatar in simulation to have some fun, but his life is ended by unknown killer. Douglas Hall (played by Craig Bierko), one of company directors and Fuller’s protege, takes over company but immediately finds himself to be the only credible murder suspect for Larry McBain (played by Dennis Haysberth), police detective investigating the crime. Hall tries to clear his name and becomes convinced that the key to mystery lies in the simulation, so he “jacks in” and takes avatar of 1930s bank teller John Ferguson. Upon return to real world, he discovers Fuller’s beautiful daughter Jane (played by Gretchen Mol), who might have some additional clues what happened to her father.

In 1990s many films, especially those dealing with then fashionable concept of virtual reality, were described as “Blade Runner of our time”. There are many similarities between this film and Scott’s cult masterpiece, and some include initially bad reception by critics and poor box office results. Unlike Blade Runner, which managed to slowly rebuild itself through cult status and is now considered one of the most legendary films of its time, The Thirteenth Floor remained obscure. The reason can be found in critics’ dislike for its producer Roland Emmerich, who arrogantly and aggressively overhyped his bloated blockbuster Godzilla. Compared with that film, The Thirteenth Floor with its relatively small budget looks almost like a chamber piece. German director Joseph Rusnack nevertheless puts his meagre resources to good use, creating credible recreation of 1930s Los Angeles, while cinematographer Wedigo von Schutzendorff successfully creates contrast between simulation and 1999 world. The film pays a lot of homage to Blade Runner, most importantly by making a strange blend of film noir and futurism, a formula that worked so well in Blade Runner.

But even better is the script co-written by Rusnack and Ravel Centeno-Rodriguez. The Thirteenth Floor explores the themes of reality, consciousness and identity, very much like The Matrix, but in more intelligent ways that Wachowskys’ film. Instead of complicated and unconvincing backstory, the plot is much simpler and easier to understand. Although his film has scenes of violence, Rusnack doesn’t use it gratuitously or as an excuse for “cool” action or revolutionary special effects. Almost anything in the script of The Thirtheen Floor makes sense, except few convenient and cliched concept necessary for couple of plot twists and obligatory happy end.

One of the reasons why The Thirteen Floor didn’t attract much audience can also be found in lack of truly big stars. Craig Bierko, at the time known mostly for television work, is relatively bland in the role of protagonist and that blandness is even more visible when compared with formidable German character Armin Mueller-Stahl who plays interesting double role. Vincent d’Onofrio overshadows everyone with another double role – sinister-looking Ashton and his 1999 counterpart, Hall’s chief technician Whitney. Charming looking Gretchen Moll is also very good in the role of rather unusual femme fatale, someone who isn’t what it looks to be at the first sight.

The Thirteen Floor became obscure, but this fate wasn’t justified. Unusually short running time only underlines the qualities many films of similar genre and with similar concept lack. As such it could be recommended both to fans of science fiction and quality cinema.

RATING: 8/10 (+++)