Thursday, August 22, 2013

Reaching for Elysium: Why the movie could have been great but wasn’t

In the “Hero’s Journey” myth, Elysium (or the Elysium Fields in Greek mythology) is the paradise that true heroes go to when they die (think of Frodo in Lord of the Rings and the hero in The Gladiator). To the ancient Greeks, Elysium was a place at the ends of the earth where heroes, favored by the gods for their altruism, went. It is a state or place of perfect happiness; the equivalent of Heaven.

Elysium is also the name given to the Earth-orbiting space station of Neill Blomkamp’s (District 9) new science fiction political allegory of the same name. Elysium is where the privileged live in luxury and perfect health (thanks to health-pods) — after they abandoned Earth to the squalor they no doubt helped create. This is not made clear enough for me and is one of the film’s major weaknesses, in my opinion (more on that below).
Earth seen from Elysium

The year is 2154 in a Los Angeles that strangely resembles the slum shanties of Johannesburg, South Africa (where Blomkamp filmed District 9).  We soon learn that Earth struggles in the mire of humanity’s waste in a state of general social strife. Abandoned by the wealthy elite (who have moved to Elysium), the rest of an overpopulated humanity lives in the squalor of abject poverty without food, healthcare, or the motivation to live. I, for one, would have liked to know a little of how humanity devolved so dramatically on a planetary scale.

A Different Hero’s Journey

From the time he was a young orphan, Max Da Costa (Matt Damon; Maxwell Perry Cotton) dreamed of going to Elysium, its impressive phantom form visible in the daytime sky. He promised his childhood love Frey (sympathetically played by Alice Braga and Valentina Giros) that he would take her there, to paradise. His mentor, a kind mother-figure nun of the orphanage, gives him the hero’s talisman (a locket with a picture of Earth inside), and prophesizes, “Es su destino hacer algo maravilla cuando tu es hombre” ("It is your destiny to do something great when you are a man"). She reminds him that when he gets to Elysium, he will see the most beautiful thing: planet Earth. “You see how beautiful it is,” she says to him as he gazes out at the ghost of Elysium in the sky. Then, as she hands him the locket with Earth inside, she adds, “look how beautiful we are from there. Never forget where you come from.”  Seen from this perspective, the planet Earth is a beautiful thing to behold.

Max is a reformed criminal who, like Blomkamp’s “workaday” anti-hero in District 9 (Sharlto Copley),
is not very hero-like until the last five minutes of the film, when he has his personal epiphany and decides to act altruistically rather than self-servingly. This is a pattern that Blomkamp has used before; the reluctant-hero (Wikus Van De Merwe) of District 9 was an unimpressive man with many obvious blemishes. A rather unlikeable man until he makes his heroic decision in the end. This is where Blomkamp’s heroes differ from most action movie heroes, who generally start their journey from higher positions on the evolutionary scale. Blomkamp’s heroes must journey farther to gain their hero-status; they are perhaps more realistic portrayals of ordinary men who finally shine under extra-ordinary circumstances. Men who we start out disliking—hating, even—but find ourselves cheering for, perhaps even crying for. Max’s behavior defines that true hero: rising from his need to save himself to his quest to save humanity—at the cost of his own life. But, as with the ordinary man, it is only when he connects a personal quest to save the daughter of his first love to his global quest to save Earth that Max transforms into the altruistic mythic hero he is destined to become. Everything came together at the film’s end, in a montage of scenes that depict the locket of the planet Earth in his dying hand (Earth is Home; save the planet), the demise of a police state, the savior of his love’s daughter, and med-pods landing on Earth to dispense aid to the dying masses.

A Story About the Planet Earth

Ironically, it is to do with our beloved planet Earth that I felt in Elysium the most discord in plot/thematic story treatment and lack of resonance. Blomkamp begins with the planet and he ends his film with the planet. The symbolism is clear: in the stylish shots of Earth seen from Elysium (and vice versa); in the strategic scenes of Max and the image in his precious locket of not his childhood love Frey but of planet Earth; and his mentor’s advice to Max, delivered in one of the most powerful scenes of the movie. Yet, Blomkamp fails to follow through to give us that visceral connection. Why is the planet so important? How is Max connected to it or anyone else, for that matter. What is Spider’s story (Wagner Moura), a latter-day Che-Guevara, who fervently leads the proletarian rebellion of Earth? Who, why and how did the planet come to be so destroyed? There is not one ounce of suggestion, backstory or context. This is an important consideration; because without it, instead of feeling total resolution and redemption in the end, I felt a disconnect to those masses being helped and even some distrust in their fate and direction. Instead of feeling true victory, I felt ambivalence.  

Called a “sci-fi socialist film” by P.J. Gladnick of, Elysium is clearly an attempt at
examining and dramatizing the social segregation of humanity and economic fascism: a dystopia that promises commentary on social and economic issues in society today. However, I felt that its delivery was compromised by Blomkamp’s choice to focus more on action tech at the expense of good backstory, context and empathic character development. I’m not saying that it’s a bad story. It is a very good story; it’s just that it could have been a great story. The heart of the story—delivered through the main protagonist—lacks the global connection it could have had. This is not, as some reviewers suggest, due to any infirmity of the hero, his antagonists, or lack of symbolism (of which there is much), but the lack of context, backstory and richness of setting (I’m not talking about the visible setting, which was spectacular, elegant and stylish). It comes back to how each character relates to “home”, the planet, and to each other.

Matt Goldberg of says that, “Elysium‘s message about economic inequality is couched in a finely-drawn sci-fi world, but the power of that message becomes diminished when we cease to care about the messenger.” Detroit News Tom Long added that, “Elysium is the sort of big, noisy sci-fi film that seems to want to say something but opts instead to concentrate on fight scenes involving gimmickry.” While I appreciated the depth and breadth of Blomkamp’s references to pop culture from an Armani-clad female Darth Vader to the Judeo-Christian references and symbolism, it just didn’t hold its promise.

What began as a promising exploration about an important social issue, devolved into a sequence of ever-escalating gratuitous gore and violence—clearly aimed for a different audience. 

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit Visit for more about her writing.

Friday, August 16, 2013

Colliding at When Words Collide

I just returned from Calgary’s premiere-quality writer’s festival: When Words Collide, this year in the Carriage House Inn August 9-11. It’s just the third year of the con and the first year I’ve participated. Organizers describe the conference as “a festival for readers, writers, artists and publishers of commercial and literary fiction, including genre, YA, children’s books, and poetry.”

I bumped into the Chairman, Randy McCharles, who shared with me that this literary
Randy McCharles, Chair of WWC
originally modelled after science fiction conventions, was conceived as a festival that doesn’t take itself too seriously. Which is part of its unique charm and success. This unassuming convention provides a friendly and accessible platform for professional writers, editors, novice writers and readers wishing to engage, learn and share. The festival provided over 190 hours of programming for readers, writers and publishers of all genres including science fiction and fantasy, mystery, non-fiction, screenwriting and poetry.

I’m not surprised that When Words Collide is growing in leaps and bounds with each passing year. For two years in a row this festival was nominated for the Aurora Award, Canada’s premiere award for excellence in literature of the fantastic. 2013 special guests included Patricia Briggs, Michaal Cassutt, David B. Coe and D.B, Jackson, Barbara Fradkin, Shirlee Smith Matheson and Jamis Paulson, Penguin Canada Editor Adrienne Kerr, Robert J. Sawyer, & Publisher Brian Hades of Edge Books and so many more cool literary folk.

Programming scheduled me to participate in eight super cool panels, two workshops, a reading, autograph session, and Blue-Pencil Café. That didn’t stop me from bumping into old friends in the Peanuts Sports Pub or while loitering in the spacious lobby.

Panels that I participated in spanned a wide
and topical range of subjects and issues Germaine to writers: anything from the burgeoning field of auditory books (where I shared my experience with Iambik's audiobooks of my Splintered Universe Trilogy), to topics like “Transhumanism”, “The Alien as Metaphor”, “Making the Everyday Fantastic”, “What Women Write”, to racism, sexism and homophobia in genre fiction—expertly moderated by Peter Halasz. Being a writing coach, I also participated in an editing panel moderated by Brian Hades, publisher of Edge Books, who received a call from a mystery guest during panel deliberations. I read from my newly released Natural Selection, a collection of short stories themed on the co-evolution of humanity with Nature and technology.

My two workshops “The Hero’s Journey” and “Self Editing” were well-attended and caused a small flurry over my writing guidebook The FictionWriter, which sold out right after my first workshop at The Sentry Box and the IFWA table, who were also selling my books.

My last activity was the Blue-Pencil Café, a one-on-one feedback coaching session for writers with a WIP. I enjoyed working with new writers on their interesting and imaginative writing projects.
Nina clutching the last copy of The Fiction Writer

This writer’s festival is possibly the best writer's event I have had the pleasure to attend. It’s sophisticated but not pretentious; it’s diverse but not too chaotic (embracing the singularity of stable chaos and “strange attractors”); it’s edifying but not stuffy; it’s international but still down-home; and it’s loads of fun. If you are a serious writer wishing to hone your craft, find a great writing community, and share experiences and your passion for words, this is a very cool place to do it.

Mark your calendar for WWC 2014 and think of “colliding”.

Rick and Di and special guest
The Fourth Annual Edition of When Words Collide will be August 8-10, 2014 at The Carriage House Inn, Calgary, AB. Special guests already booked include: Brandon Sanderson, Jacqueline Guest, Diana Gabaldon, D.J. McIntosh, Mark Leslie (Kobo Canada) and others.

I’ll be there too!

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit Visit for more about her writing.

Monday, August 5, 2013

Nina Munteanu at When Words Collide

In a few days I’m heading for Calgary to participate in one of Canada’s premiere writing conferences, the 3rd Annual When Words Collide (WWC-2013): August 9-11, 2013 at the Carriage House Inn (9030 Macleod Trail South, Calgary, AB).

Winner of the 2012 Aurora Award and current nominee for the 2013 Aurora, WWC is a festival for readers, writers, artists and publishers of commercial and literary fiction, including genre, YA, childrens books and poetry. Readers and writers share information, learn, and build a sense of community. The conference features experts representing diverse genres including mystery, science fiction, fantasy, romance, literary, historical, western, film scripts, and poetry.

The interesting nature of the conference is reflected in its diverse and comprehensive Programming: writing, literature, publishing, art (cover/interior); Kaffe klatches; pitch sessions, autograph sessions, readings, Blue-pencil café; parties, and a merchant’s corner. The festival also includes in-programming workshops (I’m doing two of them) and pre-conference workshops.

Featured guests of honor include: Patricia Briggs, Michael Cassutt, David B. Coe, D.B. Jackson, Barbara Fradkin, Shirlee Smith Matheson, and Jamis Paulson.

I will be sitting on several panels, giving a reading from my latest SF book Inner Diverse (of The Splintered Universe Trilogy), participating in an autograph session, Blue-pencil café and giving two writing workshops:

  • ·      The Hero’s Journey
  • ·      Self-Editing

Nina’s Schedule at WWC-2013:

Friday 6 pm: PANEL—“Listening to Books”
Friday 9 pm: PANEL—“The Issue is the Issue”

Saturday 10 am: PANEL—“The Alien as Metaphor”
Saturday 11 am: PANEL—“Transhumanism”
Saturday 12 pm: PANEL—“Making the Everyday Fantastic”
Saturday 1 pm: READING—Reading from “Inner Diverse”
Saturday 2 pm: PANEL—“What Women Write”
Saturday 7 pm: PANEL—“Editor for Hire”

Sunday 10 am: PANEL—“Pantser, Plotter of Quilter”
Sunday 11 am: WORKSHOP—“The Hero’s Journey”
Sunday 1 pm: WORKSHOP—“Self-Editing”
Sunday 3 pm: BLUE-PENCIL CAFÉ 

I’m looking forward to visiting with old friends and meeting new ones. See you all there!

I will also be joining awesome voice artist Dawn Harvey for readings of Inner Diverse of The Splintered Universe Trilogy on Thursday (August 8) at The SENTRY BOX at 7 pm on and on Friday August 9th at Chapters (Chinook Centre) at noon.

See you all there!

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit Visit for more about her writing.