Dark City (1998) - 4K Ultra HD Critique

      Dark City, 1998.

      Directed by Alex Proyas.

      Featuring Rufus Sewell, Kiefer Sutherland, William Hurt, Jennifer Connelly, and Richard O’Brien.

      SYNOPSIS:

      A man grapples with fragmented memories of his past, which include a wife he cannot recall and a disturbing world from which no one else appears to awaken.

      Dark City is a film that inspires obsession. Directed by Alex Proyas, this visually stunning fusion of noir and science fiction presents a complex, stylized mystery that also serves as a philosophical exploration.

      Released a year prior to The Matrix, it explores similar themes such as identity, memory, and control, yet does so with a darker and more surreal tone. While it may not have the streamlined narrative of its commercially successful counterpart, Dark City remains an impressively ambitious and often brilliant work of cinema.

      The narrative centers on John Murdoch (Rufus Sewell), who awakens in a bathtub with no recollection of his identity and a murdered woman in the adjacent room. As law enforcement closes in and the enigmatic Strangers pursue him, Murdoch uncovers a unique ability: he is conscious while everyone else sleeps. More crucially, he can alter the very fabric of the city. With the assistance of the stuttering Dr. Schreber (Kiefer Sutherland), Murdoch strives to reconstruct his past, navigate a perpetually changing urban nightmare, and reveal the truth behind a world that is literally created.

      Proyas meticulously constructs his city. The production design, crafted by Patrick Tatopoulos, is nothing short of extraordinary. From shadowy alleys and shifting architecture to its blend of period elements and retro-futurism, the city itself becomes a character—claustrophobic, dreamlike, and unsettlingly changeable. Elements from Metropolis, German expressionism, and classic film noir are intertwined, featuring fedoras, fog, and femme fatales within its dark aesthetic. The cinematography captures both vastness and intimacy, providing jarring close-ups along with expansive transformations of the scenery.

      However, the narrative of Dark City encounters some pitfalls. The pacing can be inconsistent, and the climax, which includes a somewhat cheesy telekinetic confrontation, leans more towards the sensational than the sensible. Nevertheless, the film's philosophical foundations lend it a sincerity that compensates for its excesses. Proyas is intrigued by the essence of identity: are we merely a collection of memories, or is there something deeper? What transpires when these memories are fabricated? And can the soul remain whole without a meaningful history?

      Rufus Sewell conveys a compelling combination of confusion and determination as Murdoch, while Jennifer Connelly, portraying his alleged wife Emma, imparts a quiet elegance amid the turmoil. William Hurt adds weight to the weary detective Bumstead, whose uncertainties reflect our own. However, it is Sutherland who stands out as the ethically conflicted scientist torn between duty and guilt, evoking Peter Lorre with disquieting intensity.

      Trevor Jones's score enhances the atmosphere, balancing tension with momentum, while Dov Hoenig's editing infuses the film with a jittery energy that complements its unraveling plot. The original theatrical version, despite studio interventions, is the definitive edit—more concise, focused, and urgent than the slower Director’s Cut that followed (both versions are included in Arrow’s 4K release).

      In addition to carefully transferring the original 35mm negatives to UHD and upgrading the audio with Dolby Atmos, Arrow’s restoration features numerous commentaries by Proyas and others discussing the creation of this dark work of art.

      A one-hour documentary and two visual essays enhance the disc's content, while the set includes attractive collectible items such as a 60-page book, limited edition packaging, a double-sided poster, and art cards.

      Dark City is not a flawless film, but it is an audacious one. It poses provocative questions and constructs a world that lingers in the mind long after the credits roll. It may not resolve every enigma it introduces, but it deserves recognition for daring to ask them in the first place.

      Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

      Tom Atkinson – Follow me on Instagram.