Film Review: Frequency (2000)

Time travel is one of the most fascinating and the most popular themes in science fiction. It is usually among the most misunderstood and most misused themes by Hollywood. One of the rare Hollywood attempts to approach this subject in thoughtful and somewhat more convincing way is Frequency, 2000 science fiction thriller directed by Gregory Hoblit.

The plot begins in New York City in early Autumn of 1999 when unusually strong solar winds cause aurora borealis to manifest itself at the night sky. NYPD Detective John Sullivan (played by Jim Caviezel) is workaholic whose dedication to the work has recently left him without a girlfriend, so he doesn’t have much time to wonder about celestial phenomena. The event nevertheless bring back traumatic memories from his past. Roughly thirty years ago, when the same phenomena was at sky over New York, John’s beloved father, firefighter Frank Sullivan (played by Dennis Quaid) died while trying to rescue homeless woman from burning building. Frank used to be ham radio enthusiast in his spare time and had thought young John to use his equipment. In brief attempt to relive nostalgic childhood days John turns father’s old ham radio set on and, much to his astonishment, discovers familiar voice talking to him from the other side. It belongs to his father, who gives very detailed description of 1969 World Series. After overcoming his disbelief and realising that he can actually talk with his father in the past, he tries to warn him about the fire and thus save his life. Initially sceptical Frank nevertheless heeds the warning, but John would again be traumatised by loss of a parent during childhood. By preventing Frank’s death in 1969, John has started another set of events that would result in Frank’s wife and John’s mother Julia (played by Elizabeth Mitchell) become victim of vicious serial killer. Two Sullivans, each in his own time, decide to coordinate efforts in order to catch the killer and thus save Julia’s life.

Gregory Hoblit made his name on television as director of popular drama series like L.A. Law and NYPD Blue. His early attempts at the big screen, like courtroom drama Primal Fear and atypical horror film Fallen, were somewhat disappointing. Hoblit was more fortunate to have his third feature film based on the script by Toby Emmerich, head of New Line Cinema and an accomplished screenwriter (whose brother, character actor Noah Emmerich, appears in Frequency in the role of John’s friend). While some of hardcore genre purists wouldn’t be enthusiastic for Emmerich’s concept of time travel being based on science, it represents much more thoughtful approach and actually takes into consideration (in)famous Grandfather Paradox. Emmerich, for example, uses somewhat more realistic way of time travel – instead of bulky futuristic machines that transport people or objects, Frequency features simple exchange of information through rather primitive pieces of everyday technology like old radio sets. Emmerich also adopts a view which is rather unpopular among most Hollywood screenwriters dealing with time travel. His script shows that messing with the past can have serious and often dire consequences for someone’s present and future.

Another interesting aspect of Frequency is the idea to set the plot in a blue collar milieu of American big cities, very much like the way Stir of Echoes used it for supernatural thriller. Time travel was also used to cover the subject of cultural and other differences between various generations. Hoblit celebrates family as the bedrock of the society, and it is presented through scenes that make sharp contrast between 1999 in which protagonist lives as lonely, frustrated man in parents’ house and 1969 in which their parents genuinely love each other and spend all free time drinking beer and making barbecue with neighbours with whom they share fanatical devotion to New York Mets. At times this celebration of family values can turn into unnecessary pathos but, at the same time, it also allows Hoblit to stage some inventive action scenes.

Cast of Frequency is very good. Dennis Quaid is very good in the role of firefighter who is heroic and vulnerable at the same time and easily overshadows Jim Caviezel who is, on the other hand, more than decent as quiet and introverted co-protagonist. Supporting actors are adequate, and that includes Shawn Doyle as villain and Andre Braugher as policeman (although his presence would bring comparisons with the brilliant role of Pembleton in Homicide: Life on the Street). Elizabeth Mitchell in the role of good wife and mother is trying her best to make audience think of something other than her previous steamy role in Gia.

Apart from too much pathos, the biggest problem of Frequency is overuse of pyrotechnics, probably due to the producers’ idea that modern science fiction film can’t be made without heavy use of special effects. This is probably the reason why Frank’s character became firefighter. Because of that Frequency looks too Hollywood-like. It is nevertheless a very good film that should be recommended to fans of science fiction. In 2016 it was remade three times – in 2016 as short-lived television series starring Peyton List and Riley Smith; as South Korean series Signal and its 2017 eponymous Japanese remake.

RATING: 7/10 (+++)

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