Gattaca, put simply, is one of the best and smartest science fiction films ever made.

Gattaca is set in the “not-too-distant future” — a slick aesthetic hybridization of Frank Lloyd Wright, mid-20th century European automobiles, 40’s couture and fedora haberdashery, and the cold, sterile, chrome-swept surfaces of A Sharper Image — when one’s life is determined not by education and experience, but by genetic engineering. Those born naturally are second-class citizens, relegated to lives of menial labor, while the biologically superior are genetically destined for power and prestige. In the 21st century, discrimination is a science.

Vincent Freeman (Ethan Hawke) dreams of becoming an astronaut. But he is an “In-Valid,” a natural-born plagued with the sort of defects that used to be common to every human being. As such, the only way he can get close to the rockets he so badly wants to fly is by mopping the floors of the launch facility.

That is until he discovers a man who peddles designer DNA. German (Tony Shalhoub) introduces Vincent to the bitter alcoholic Jerome Morrow (Jude Law in his first American production), a pure specimen who was paralyzed in an accident and is willing to sell his superior genetic materials. Vincent assumes Jerome’s identity, daily exfoliating his skin to minimize trace evidence and wearing a false fingertip and hidden catheter to trick scans and urine tests. Vincent’s ambition and keen intellect take him far, though every day is a constant battle to avoid detection.

While Vincent’s beautiful co-worker Irene Cassini (Uma Thurman), becomes increasingly suspicious of his origins even as she finds herself developing romantic feelings for him, the shocking murder of the facility’s flight director turns Vincent’s dream into a nightmare. Alan Arkin and Loren Dean play “Hoovers” (a pun on “J. Edgar”), relentless investigators who literally suck up physical evidence from the crime scene. Vincent knows it is only a matter of time before a stray hair or skin follicle is discovered and he is not only booted from the program, but probably accused of a murder he did not commit.

Gattaca is an assured and elegant first film by New Zealand director Andrew Niccol, who displays a sure hand with his own erudite material. Flush with the sorts of grand themes and thoughtful storytelling of grand literature, Gattaca is the best sort of science fiction — a big-screen parable that is lofty, intelligent, forward thinking and morally charged.

Niccol has fashioned a film that never sacrifices intelligence or integrity, even when it is building the sort of tension that will render audiences breathless. Cinematographer Slawomir Idziak works in soft, warm glows in the outside world and harsh cold in the windowless interior of the emotionally detached training facility.

Gattaca doesn’t have bankable stars or lavish special effects. It is a character-driven drama ripe with three-dimensional characters. Ethan Hawke gives an incredibly sympathetic performance. His Vincent is both vulnerable and valiant. He is the flawed Everyman, an outsider who dares to challenge his preordained fate and prove that the indomitable human spirit can overcome anything. The newcomer Law hints at a grand future with the tragic, fallen god, Jerome.

Gattaca presents us with a vision of the future that is anything but far-fetched. The script echoes very real world problems of classism, prejudice and racism without ever once condescending to sermonizing. It encapsulates the greatest fears of Nazi eugenics and straying into “God’s territory,” while espousing the powerful uniqueness of the individual. Relevant now more than ever, Gattaca is a timeless classic sure to reward multiple visits.

© Copyright 1997 Brandon Fibbs. All rights reserved.