Movie Review: Blindness

Make no mistake about it: despite the pedigree of Oscar-winning director Fernando Mierelles, and actors Julianne Moore and Mark Ruffalo, “Blindness” is not a pleasant, beautiful movie.

The film, based on a novel by Jose Saramango, has elements of drama, political allegory and science fiction. But at heart, “Blindness” is a horror story about the thin line between civilization and chaos, the darkest depths of the human heart and what happens when we ignore society’s most vulnerable.

Set in an unidentified city in the near future, “Blindness” depicts a world in which a new epidemic causes people to be afflicted by “the white sickness,” a disease that robs people of their sight. A doctor (Ruffalo) is stricken with the disease after treating a patient and when government officials come to quarantine him, his wife (Moore) stays by his side, hiding the fact that she can see.

As the sickness spreads, more people are brought into the quarantine compound, where they are left on their own, and supplied only with basic food and necessities. Civilization outside the camp breaks down and factions break out within the quarantined wards, leading to the rise of a warlord of sorts (Gael Garcia Bernal), who hordes the food and makes sickening demands in order to give it away. All the while, the doctor’s wife watches in silence and we wonder if it would be better to be blind than to see the horror of what’s going on.

Government neglect, human degradation, starvation, humiliation and gang rape do not necessarily make for an enjoyable time at the movies, and “Blindness” is about as bleak as films come. Mierelles drains the film stock of nearly all color, giving even the most subtle moments an air of dread about them. He films some of the most horrifying moments in near darkness and does not spare the audience the most painful sights. “Blindness” is definitely not a date movie or escapist fare.

But a depressing film is not necessarily a bad one and there are moments of near-brilliance in Mierelles’ tale. While not as thrilling as his classic debut “City of God” or as emotionally resonant and suspenseful as “The Constant Gardner,” the director is not reveling in human misery or exploiting calamity. With its unnamed character, unidentified city and unspecified time period, “Blindness” serves not as simple fiction, but as an allegory that prompts us to consider compassion by showing us its absence.

How do we treat the world’s most afflicted and vulnerable? Do we show them compassion or move them out of sight, comforting ourselves by throwing them a dollar or giving them a sandwich? What are the ramifications of our actions toward people in need and are we damning ourselves by ignoring problems that don’t immediately affect us? “Blindness” can be seen for a metaphor, albeit heavy-handed at times, for these questions and it’s a none-too-subtle allegory for situations that have developed in areas like Darfur and Rwanda, where the world’s governments have ignored the need for so long that chaos has erupted.

Moore, in a strong performance, could be seen as the nations or individuals that can see their problem. Her character arc, as she moves from taking care of her husband to becoming a surrogate mother for all in her ward, speaks of the responsibility of those who have sight to care for the problem and get involved. Ruffalo earns sympathy as the husband who formerly supported his family and now has to depend on others for the most menial tasks.

Those who don’t like being preached to will likely bristle at “Blindness’s” message and others may find it simply too grim to endure. The allegorical structure doesn’t allow for much character development and Mierelles does go a bit overboard with his stylistic tics, which sometimes overpower the story’s narrative. The film lacks the warmth and humanity of his other films, and even the ending, which aims for hope, still feels dark.

But for those willing to endure the grim spectacle of “Blindness,” they will find a movie that speaks to important issues and, if the film restores the sight of governments to the plight of the needy, it will be worth it. Grade: B

Originally published in the Oct. 5 edition of The Source newspaper. Written by Chris Williams.