The Giver, a cinematic adaptation of Lois Lowry’s contemporary young adult classic, is great summer action-adventure entertainment. The film also serves as a terrific example for future moviemakers seeking to transfer themes of spiritual faith to celluloid without succumbing to preachiness and overwrought didacticism.
Yes, The Giver is yet another dystopian sci-fi adventure story featuring handsome young protagonists rebelling against established A-list Hollywood stars portraying adult autocrats. But, unlike the silly, over-the-top political media and often disturbing ultraviolence of The Hunger Games, The Giver delivers the action without unnecessary onscreen carnage. True – for the most part – the adults are still autocratic nincompoops, but the purpose behind their actions derives not from the comic-book arch-villain text book. Instead, the world depicted in the movie is closer to attempts at social engineering witnessed on a daily basis; from all-pervasive surveillance cameras to language policing and nanny-state enforcement.
Taking a cue from the original Star Trek television series, the setting of The Giver has, like Spock’s home planet, Vulcan, eliminated human emotion and biological passions in response to some catastrophe (presumably war). One individual is entrusted to all pre-catastrophe memories, the title character (Jeff Bridges). The Giver resides in an outpost on the edge of civilization, a bunker filled with books and a grand piano. He is charged with transferring his memories to Jonas (Brenton Thwaites), the state-designated Receiver of Memories. Like Spock, the Giver performs his own version of the Vulcan mind-meld for the transference of memories. (more…)