Critical Assessment: 'Origin' Struggles to Transcend Its Cinematic Limitations

In the age of social media, a regrettable consequence has been the challenge of distinguishing profound cinematic works from a barrage of fragmented yet enticing ideas that fail to coalesce into a coherent narrative. This tendency has permeated discussions around complex truths, often reducing them to cursory statements that spawn unrelated conversations. This phenomenon, while emblematic of the current era, does not inherently equate to the creation of quality art nor contribute to productive discourse. Unfortunately, it's within this landscape that many films and TV shows, such as Emerald Fennell's superficial "Saltburn" and Sam Levinson's equally vacuous "The Idol," have originated and found varying degrees of success.

Ava DuVernay, a prolific writer-director, grapples with a similar challenge in her cinematic endeavors, including her latest work, "Origin." While some of her counterparts rely on "vibes only" storytelling, DuVernay, being Black, has built much of her dramatic film career on narratives that often spotlight prejudice but struggle to depict characters as fully realized individuals rather than mere symbols of oppression or resistance. Previous works like "Selma" and "A Wrinkle in Time" have faced criticism for mythologizing historical figures or attempting to tackle too much and too little simultaneously.

In the context of adapting Isabel Wilkerson's acclaimed 2020 bestseller, "Caste: The Origins of Our Discontents," DuVernay's approach takes an interesting turn. Rather than a strict adaptation, the filmmaker opts for a movie centered around the author's process of conceiving the book's ideas. This choice necessitates the creation of a Wilkerson character who can guide audiences through the intricate thoughts laid out in the book. The film endeavors to traverse the globe, notably India, where the caste system profoundly shapes life, aiming to assert that caste, beyond racism, is the foundational issue we all share. However, whether DuVernay's "Origin" manages to transcend the pitfalls of her previous works and provide a nuanced exploration of Wilkerson's complex theories remains a question hanging in the cinematic balance.

Navigating the intricate web of Ava DuVernay's latest film, "Origin," may leave you feeling lost, and if that's the case, you might find survival in this cinematic landscape a daunting challenge. DuVernay, to her credit, tackles an ambitious concept—one that garnered commendation with a nine-minute standing ovation at the Venice Film Festival in September. However, the applause loses its resonance when the film itself fails to coalesce into a meaningful whole.

DuVernay's struggle with crafting complex characters, a recurring theme in her filmography, is accentuated by the absence of an actual story in "Origin." Instead, the movie grapples with the labyrinthine theories from Isabel Wilkerson's book, lacking a singular focus on an individual grappling with these theories. In essence, "Origin" emerges as a film about nothing at all, lacking a sense of completeness.

The narrative centers mostly on Isabel, portrayed by the consistently excellent Aunjanue Ellis-Taylor. Grief-stricken by the loss of her husband (Jon Bernthal) and mother (Emily Yancy), characters that receive minimal attention in the film, Isabel embarks on a quest to demystify the subject of race. The story unfolds against the backdrop of Trayvon Martin's killing, a distressing event that significantly impacts Isabel. DuVernay, however, inexplicably chooses to depict the incident in full at the film's outset, complete with actual 911 calls, a choice that feels gratuitous and unnecessary, given the audience's likely familiarity with the tragic event.

DuVernay's signature style, marked by a lack of subtlety and a penchant for putting messages at the forefront, persists throughout "Origin." The film introduces a scene where Isabel encounters a plumber (played by a random Nick Offerman) wearing a MAGA cap. The camera lingers on the hat, but no dialogue unfolds about it; instead, the characters shift to discussing their deceased parents. The lack of resolution in such moments adds to the film's overall sense of perplexity, leaving viewers grasping for meaning in a narrative that seems to elude definition.

Origin" compensates for its lack of a conventional plot by delving into profound reflections on race and caste on a global scale, inviting the audience to grapple with these complex concepts. The film follows Isabel's travels and conversations worldwide, skillfully illuminated through impactful production design in various locations. From Nazi Germany studying America's Jim Crow laws to the impact of colorism on the caste system in India, the film draws on Isabel Wilkerson's research, providing a shaky yet enlightening foundation for "Origin.

The breadth of topics covered in the film, stemming from Wilkerson's research, adds weight to "Origin," even if the film struggles to fully bear it. The narrative transforms Wilkerson's book into an expedition, hinting at the possibility of solving the issues it presents by the film's end. However, the film falls short in comparison to Wilkerson's work, lacking the same depth in both its protagonist's exploration and contemplative theory.

While the film attempts to infuse didactic ideas into a narrative, it may be argued that a documentary format could have allowed these complex concepts to breathe more effectively. "Origin" falters in attempting to balance both storytelling and the intricate ideas at play. Moments of true intrigue are sparse, emerging in challenging and untidy exchanges that explore the subject matter more deeply. An example is Isabel's dialogue with Sabine (Connie Nielsen), a Jewish German woman questioning Isabel's perceived conflation of enslaved Black Americans with the Holocaust. This exchange, along with others, reveals the messy and uncomfortable reality of discussing race, racism, and caste, showcasing the film's potential for genuine engagement.

Despite its shortcomings as a traditional film, "Origin" finds its stride in these uncomfortable conversations, emphasizing the complexity of race, racism, and caste—subjects that often suffer from oversimplification in casual discussions. In an era marked by rampant virtue signaling, "Origin" serves as a reminder that these intricate issues demand nuanced portrayals and thoughtful exploration rather than surface-level engagement.

A simple cookout conversation between Isabel and her affectionate cousin Marion (Niecy Nash-Betts) in "Origin" encapsulates the slippery nature of Isabel's theories. When Marion playfully requests an explanation akin to one for a four-year-old, the scene evokes laughter, revealing the challenge of translating complex ideas into accessible language. Observing a character, and often a filmmaker, tirelessly wrestle with an idea until it takes a tangible form is undeniably fascinating. However, "Origin" falls short of feeling fully formed, despite Aunjanue Ellis-Taylor's poignant performance.

The character of Isabel lacks substantial development, mirroring the film's struggle to cohesively tell its story. Awkwardly, the film introduces two subplots involving real-life couples engaged in resistance movements, stories so compelling that they could merit standalone films. One revolves around Irma Eckler and August Landmesser (Victoria Pedretti and Finn Wittrock) in 1930s Nazi Germany, while the other explores Elizabeth and Allison Davis (Jasmine Cephas Jones and Isha Blaaker) in the Jim Crow South. These subplots, rich in nuance, dramatic stakes, impact, and closure, overshadow Isabel's narrative. The film, when returning to Isabel, feels like a diversion from more engaging storylines.

Origin" appears to yearn for a more substantial story, as the one it has feels scant. In grappling with Isabel Wilkerson's complex text, the movie loses sight of the need to be a complete narrative. While the subject matter demands a narrative that is anything but tidy, "Origin" struggles without a three-dimensional protagonist and a supporting narrative that matches the depth of those two compelling couples' stories. The film, rather than a polished cinematic experience, feels more like a draft in need of refinement.

Origin" is currently playing in theaters in New York and Los Angeles, with plans to expand to select cities on Jan. 19. At HuffPost, the commitment to providing freely accessible, high-quality journalism is evident, recognizing the importance of making news available to everyone, regardless of their ability to afford expensive subscriptions.

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