From start to finish, Cosmopolis has meaning and layers.
Chauffeur Deb knows how much I love the credits, especially the end. She’s seen the film 10 times with me by her side and each time, I sing along to Metric’s perfect song for Cosmopolis – Long To Live.
The opening and closing credits are beautiful and purposeful. Here is what David Cronenberg had to say about the opening Pollock and the closing Rothko:
You have a billionaire who appreciates art he sees in the Rothko something that he wants. The fact that it’s the Rothko Chapel suggest some kind of religious connection for him. Is it peace? Is it serenity? Some kind of transcendence that will get him out of his own body, his own life. But being the kind of guy he is, the only way he can think to acquire that is to buy it. That’s what he does – when you really want something you buy it. That is the way it works with him. Even that is an abstraction because though he’s dealing with billions of dollars everyday in trading, he never really touches actual money. So it’s all abstract.
Because of that we decided to bookend the film with Pollock – which he is not mentioned in the movie of the book directly but comes from the same era – but the Pollock you’re seeing it be created and it’s sort of where he is in the beginning – agitated, tricky, actively constantly moving. By the end we have the Rothko which is a kind of serenity, kind of acceptance, kind of peace. It’s interesting to note both of those artists basically committed suicide. I wasn’t thinking that at the time but it’s perfect for Eric Packer to be drawn to artists whose acquiring of taste involves self destruction.
Click HERE if you’d like to listen to the entire, insightful Q&A with David Cronenberg.
I cap’d all the Rothko shots at the end because I love his work. Do you have a favorite? Mine is when Jay Baruchel’s name is on the screen.