Film Review: The Time Machine (2002)

The Time Machine, 1895 novel by English writer H. G. Wells, is considered one of the classic of science fiction literature for being the first major work to explore theme of time travel. Its 1960 film adaptation directed by George Pal is for the same reason considered one of the classics of science fiction cinema. Despite huge respect that film had among genre aficionados, Hollywood decided to deliver new and “refreshed” version in 2002, directed by Wells’ great-grandson Simon Wells.

The plot begins in 1899 New York City where Professor Alexander Hartdegen (played by Guy Pearce) teaches mechanics at Columbia University and works on his experimental time machine in spare time. The only aspect of his life that has nothing to with cold science is his beautiful fiancee Emma (played by Sienna Guillory). When she gets killed by a street mugger, Hartdegen can’t reconcile with it and decides to apply his theories into practice. Four years later he has finished his machine and he uses it to go back into past trying to save Emma’s life. His attempts, however, always result with Emma’s death. Not knowing why it happens, Hartdegen tries to find answers in the future and, after short trip to 2030, ends 800,000 years in the future. The world has changed beyond recognition and humanity is divided into two races – peaceful Eloi that live on the surface in the harmony with nature and evil Morlocs that live underground where they have built industrial civilisation and use Eloi for food. Hartdegen becomes interested in fate of Eloi when one of them, attractive girl named Mara (played by Samantha Mumba), ends in Morloc hands. In an attempt to save her, Hartdegen goes underground where he would face Morloc leader (played by Jeremy Irons).

The Time Machine clearly shows that is product of its time, no pun intended. It is collection of many of the worst 1990s and early 2000s Hollywood cliches. The original plot setting is changed from Victorian London into New York City, partly to placate chauvinistic feelings of North American audience, and partly because, in the age of Anglophobic period films, it was difficult to imagine Englishman as protagonist. Even worse is change of the main motive of the protagonist; in the original novel and its 1960 adaptation it was pure scientific curiosity, while here it is Titanic-like tragic romance. Depiction of distant future also pay tribute to “political correctness”, with good Eloi being depicted and nature-loving People of Colour. Casting is even worse. Irish pop star Samantha Mumba is simply terrible in the role of Mara and completely lacks any chemistry with Guy Pearce, Australian actor who is usually able to elevate any film he is in, but whose performance in The Time Machine leaves too much to be desired.

Some of the supporting actors are, rather predictably, much better, especially Mark Addy in the role of Hartdegen’s friend. Jeremy Irons, unlike other films in which he has played over-the-top villains (like Dungeons & Dragons), delivers solid performance here and helps with the worst segment of the film. Special effects are quite good for early 21st Century standards, especially the scenes depicting passage of time. Yet, instead of fascinating future, the authors of The Time Machine tend to pay much more attention to the past, working hard to reconstruct early 20th Century New York based on the paintings and photographs of the period. Much of the problems of the film come from direction by Simon Wells, who has worked mostly on animated films and who obviously couldn’t have handed live action well and had to be replaced in the middle of production with uncredited Gore Verbinski. 2002 version of The Time Machine, despite respectable names in its credits, ended as one of the most disappointing films of its time, and unlike its literary source and its classic screen adaptation, sank into oblivion.

RATING: 3/10 (+)

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