Jacob's Ladder Rating: Release Date: 21 August, 2001 Retail Price: $14.98 OUR Price: $10.99 You SAVE: $3.99! Cast: Tim Robbins Danny Aiello Ving Rhames Matt Craven Complete Cast (10 total)

Jacob's Ladder Reviews

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Here's A Film You Could Spend Hours Discussing
Can you say "disturbing?" Well, that adjective surely fits this unusual movie, one I've only viewed once but plan on seeing again sometime this year.

It's a strange film and could be taken a number of ways. For instance, it has some twisted theology but yet could also be used as a tool for evangelism. It's a difficult movie to interpret but a commentary/interview extra on DVD does explain some questions one would have after watching this because a lot of people apparently misinterpret this film.

It's not family fare, I'll tell you that. The language is brutal and there are some scenes in here that are not for the feint at heart. The lead character, played by Tim Robbins, is a tortured soul and plays that role well. Most of the story is told in flashbacks as a man is dying and is going through the final stages of death, recalling some key moments in his life. Those moments are magnified: the bad being shown worse than what it was and vice/versa. The main message here is "As long as you are afraid of death, the evil demons will torment you, but when you let go and aren't afraid anymore, you'll find those demons to be angels."

This is the kind of film you could probably write long, long essays on. Suffice to say, it's quite different, can be very offensive, but - if you're willing to take a shot at something different and unpleasant at times - it is definitely worth checking out, and then discussing.

Jacob's Ladder (1990)
Director: Adrian Lyne
Cast: Tim Robbins, Elizabeth Pena, Danny Aiello, Matt Craven, Pruitt Taylor Vince, Jason Alexander, Patricia Kalember, Macaulay Culkin.
Running Time: 115 minutes
Rated R for violence, language, nudity, and a sex scene involving the Devil!

The film begins with Jacob Singer (Tim Robbins) and his platoon in Vietnam. When they're suddenly attacked, chaos ensues, and the platoon appears to be the victims of some kind of chemical warfare. Jacob is stabbed in the stomach with a bayonet. Suddenly, without explanation, we see Jacob back in New York City. He's returned home from the war and he's trying to get his life back on track, but he keeps having odd experiences, seeing odd, frightening people, and having close calls with death. He cannot tell "dreams" from reality. What happened to him in Vietnam? "Jacob's Ladder" is the grandfather of the "rubber reality" films that became so popular throughout the 1990s and into the 2000s. The films with the most direct influence from "Jacob's Ladder" have appeared more recently--"Memento" (2000), "Mulholland Drive" (2001), "The I Inside" (2003), and The Butterfly Effect (2004). Of course, like any artwork, "Jacob's Ladder" has its precursors, too, such as the short story by Ambrose Bierce called "An Occurrence at Owl Creek Bridge", which was originally published in 1891 and later used as a basis of a silent film called The Spy (1929), and then a French short entitled "La Riviere du hibou" (literally "The River of the Owl"), the latter also airing as an episode of "The Twilight Zone" (1959). There is a very strong religious/mythical allegory running throughout the film--seen in everything from the Judeo/Christian nature of the character's names and the title of the film itself to character interests, as Jacob begins extensively studying demonology, the occult and so forth in an attempt to figure out what is happening to him. We are also treated to subtle connections with other works, such as philosopher Albert Camus' novel L'Etranger ("The Stranger"), which Jacob is reading in the film when we first see him on the subway, and there are many at least subtle stylistic and content precursors, such as "Altered States" (1980).

In light of the subsequent instantiations of the film's brand of rubberizing reality, as well as the more purely stylistic elements that have been used to often excellent effect in later films, "Jacob's Ladder" may seem relatively transparent or even tame. Still, "Jacob's Ladder" is one of the better films of its kind. Director Adrian Lyne achieved a continually offsetting creepiness that is rarely matched, and some scenes--such as the gurney journey through the increasingly dilapidated hospital corridors, could not possibly be topped. Seen in the context of Lyne's other films, "Jacob's Ladder" is all the more surprising, as the bulk of his career has been focused on hyper sensual and sexy dramas and thrillers--such as "9 1/2 Weeks" (1986), "Fatal Attraction" (1987), "Indecent Proposal" (1993), and "Unfaithful" (2002). "Jacob's Ladder" has its share of eroticism, however, mostly through the gorgeous and impassioned Jezebel (Elizabeth Pena), even though her most heated moment has her appropriately fraternizing with a demon. Lyne's relatively straightforward approach to the film's elastic ontology, especially in conjunction with his tendency to be forthcoming and thorough in explaining his view of the plot (a predilection shared by scriptwriter Bruce Joel Rubin) may be unfortunate in that there is an interpretation of "Jacob's Ladder" accepted by a vast majority as the "right answer". That's a shame because there are countless possible readings of this material; differing views on everything from the general crux to the smallest minutiae. Part of the inherent beauty of the film is that any scene or set of scenes may equally be taken as the "real events", and any of the dialogue may be taken as providing clues to your preferred interpretation. Robbins' performance is important to the film in that he is the focal point of almost every scene and has to convincingly play a vast range of emotions; he does so with finesse. The rest of the cast is noteworthy, even though their questionable nature gives them a lot of leeway in terms of verisimilitude and consistency.

But the real driving force that makes "Jacob's Ladder" such a success is its eeriness. This is a horror film after all, both on psychological and more apparent supernatural levels. Lyne continually and disconcertingly pulls the rug from beneath not only Jacob, but the audience as well, yet manages to never make a viewer feel lost, instead producing an eagerness to solve the "mystery" while you root for Jacob. "Jacobs Ladder" requires the viewer to do the thinking, letting them have their own perceptions of the film rather then being fed that of the directors. If you do choose to go on Jacobs journey with him be warned, it wont always be pretty, but you will come out of it gratified that for once in film you have the freedom to think for yourself.

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