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After three dismal flops, Viktor Taransky's (Al Pacino) last hope is his movie, Sunrise, Sunset
. But halfway through the production, his prima donna star Nicola (Winona Ryder), walks out on him. Desperate, he reluctantly tries out the legacy left by a
dying computer software genius, Hank (Elias Koteas).
Hank's invention allows Viktor to create a digital ravishing blonde superstar—a composite of Grace Kelly, Audrey Hepburn and Brigitte Bardot—completely malleable and obedient, cannot grow old nor gain an ounce, can do her own stunts, wardrobe and make-up, without ego nor agenda. She is "Simone," short for her computer name 'Simulation One.' Replacing all of Nicola's completed scenes with pixital images of Simone, Victor comes up with an unprecedented hit, Simone becomes the undisputed Hollywood goddess with her adoring public respecting her every rule of intense privacy: No one, not even her co-stars, can have personal contact with her, and no live presscons please except for closed-circuit interviews. For how long can Viktor keep his CG (computer-generated) star a secret?
Niccol's Simone is light entertainment with a flimsy plot.
However, there are real hilarious situations such as the more Viktor tries to curtail Simone's skyrocketing popularity by punching embarrassing statements into her digital mouth, the more she becomes endearingly human to her fans. On the other hand, there is the implausible exaggerated scenario of how computer illiterate Viktor, no matter how intelligent and masterful he is, is able to produce a gigantic computerized program by his lonesome, and fool millions of die-hard fans the world over? The jaded Al Pacino as the clever puppeteer behind Simone's every move and mood is at his delightful frenzied best. Winona Ryder, with her limited screen time, is perfect as the bratty lead star, while young Rachel Wood shines as Viktor's savvy and reliable daughter. But deserving the loudest applause is the Academy Award winning special effects BUF Inc., responsible for bringing to life the enchanting Simone on screen.
Academy awardee writer / director Niccol (Gattaca and The Truman Show), known to
have made a career of blurring the line between what's real and reel, produced Simone as a satire against the artificiality of the movie industry (and modern life for
that matter), of its power of illusion and false advertising. While Simone may be entertaining on the surface, on a deeper level, it deplores the industry's idol
worshipping insanity and inanity, just as the movie portrays fans accepting and rejoicing over Simone, deception and all, overlooking the blankness of her beautiful face and
the monotony in her speech. A highly stylized modern version of Mary Shelley's Frankenstein and G. Bernard Shaw's Pygmalion, Niccol's Simone has
Victor playing God as he brings to life a CG beauty who looks and moves so real and alive.
But no matter how perfect the CG Simone is, can she ever duplicate the connectedness among humans? Afraid that he will be seen as a fraud and have his booming career ruined, he is conflicted whether to confess the truth behind Simon's allure. But a lie is a lie and can have disastrous consequences, even as it could be instrumental in making his family whole again. In Viktor's roller coaster life of extreme highs and lows, it is his daughter's love, complete devotion and faith that carry him through.
(Date reviewed: September 13, 2002)
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