The Air I Breathe

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The Air I Breathe is a movie of the entangled lives genre, similar to Crash in that respect, and it also conforms by way of gratuitous violence and strip clubs it gladly flaunts. But that is not to say that the narrative lacks depth or emotional layers. The viewer becomes acquainted with three lives that will intertwine so as to lend freedom to a fourth in four vignettes titled: Happiness, Pleasure, Sorrow and Love. These characters, respectively played by Forest Whitaker, the disgruntled Wall Street clerk turned bank robber and suicidal sociopath; Brendan Fraser, a reticent hitman who seems to have lost his ability to predict the future as he decides to forsake fealty to his heartless crime lord (Andy Garcia); Kevin Bacon, a doctor who saves the life of Trista, a persecuted pop-star, and is thereby enabled to save from a snake bite his best-friend's wife (Julie Delpy), with whom he also happens to be secretly in love; and Sarah Michelle Gellar's pop tart, Trista, who becomes entangled favourably by the three lives but will lose everything in the while, love, career, and friends.
This is the debut feature by Jieho Lee, a Korean-American director and screenwriter who wrote this script as a reflection to his journey in a "bimodal world". The cinematography is well suited by the description of bimodal, as the colors are very stark but a terrifying chiaroscuro breathes the presence of a dual tone universe which seems to preface the destiny we all have set out for us, but not independently of others. The acting is mediocre, but for the outstanding consummate performance of Andy Garcia, who seems to be getting better with time and roles, and the flaky, horned-up supercilious nephew of Garcia's role played by Emile Hirsch.
The movie bounces along several themes but seems to defragment a somber reality where death and debts seem to frustrate everyone who has a heart, and where life is held hostage by forces that threaten us at all times, from every angle.
The congruence of themes is intriguing but the direction fails to fully represent this enigma in ways that portray the meaningful (or lack thereof) essence of life, aside from the role of coincidence. It seems to have no meaning save for being a yarn tangled and reeled compact. Ultimately however the violence seems to be overbearing and inopportune to portray the pain of ordinary lives and extraordinary men, some of which inexplicably have the advantage to foresee the future. This last aspect of the movie is very clearly a deus ex machina, which functions effectively as a means to allegorize destiny, but it does not fit with the pragmatics of the narrative's realist outlook. I fault the writing for that, whereas it was clearly insightful by other turns. There are deaths upon deaths and several cars slamming into people. A practice which I've yet to see done as well as in the Mexican movie Amores Perros, which was also about debts.
Herein I think much of the movie fails as well: the restraint it practices in regards to theme of debts, as was the case with the theme of destiny. I enjoyed the movie and it does hold you riveted to the screen thanks to stories that intersect and diverge only to meet into the future of one pop-star who is running away from her past and her present. It could have been better, but it deserves to be viewed.
A movie with a lot of questions, too bad it does not know how to ask them...

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