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Cloud Atlas is the third novel by British authorDavid Mitchell. Published in 2004, the fantasticalspeculative fiction book consists of six interconnected nested stories that take the reader from the remote South Pacific in the nineteenth century to the island of Hawai'i in a distant post-apocalyptic future. The author has said that the book is about reincarnation and the universality of human nature, and the title references a changing landscape ('cloud') over manifestations of fixed human nature (the 'atlas'). The title was inspired by the piece of music of the same name by Japanese composer Toshi Ichiyanagi.

Cloud Atlas won the British Book AwardsLiterary Fiction award and the Richard & Judy 'Book of the Year' award. The year it was published, it was short-listed for the Booker Prize, Nebula Award for Best Novel, and Arthur C. Clarke Award, among other awards.

A film adaptation directed by the Wachowskis and Tom Tykwer, and featuring an ensemble cast, was released in 2012.

• 1Plot summary

Plot summary[edit]

The book consists of six nested stories; each is read or observed by a main character of the next, thus they progress in time through the central sixth story. The first five stories are each interrupted at a pivotal moment. After the sixth story, the others are closed in reverse chronological order, with the main character reading or observing the chronologically earlier work in the chain. Each story contains a document, movie, or tradition that appears in an earlier story.

The Pacific Journal of Adam Ewing (Part 1)[edit]

The first story begins in the Chatham Islands in the mid-nineteenth century where Adam Ewing, a guileless American lawyer from San Francisco during the California Gold Rush, awaits repairs to his ship. Ewing witnesses a Moriori slave being flogged by a Maori overseer. During the punishment, the victim, Autua, sees pity in the eyes of Adam Ewing and smiles. Later, Ewing ascends a high hill called Conical Tor and stumbles into its crater, where he finds himself surrounded by faces carved into trees. Reasoning that those who carved the faces must have had egress from the crater, he escapes. As the ship gets underway, Dr. Goose, Ewing's only friend aboard the ship, examines the injuries sustained on the volcano and Ewing also mentions his chronic ailment. The doctor diagnoses it as a fatal parasite and recommends a course of treatment. Meanwhile, Autua has stowed away in Ewing's cabin; and Ewing breaks this news to the Captain, to whom Autua proves himself a first class seaman, whereupon the Captain puts him to work for his passage to Hawaii.

Letters from Zedelghem (Part 1)[edit]

The next story is set in Zedelghem, near Bruges, Belgium, in 1931. It is told in the form of letters from Robert Frobisher, a recently disowned and penniless bisexual young English musician, to his lover Rufus Sixsmith, after Frobisher journeys to Zedelghem to become an amanuensis to the reclusive once-great composer Vyvyan Ayrs, who is dying of syphilis and nearly blind. Soon, Frobisher produces Der Todtenvogel ('The Death Bird') from a basic melody that Ayrs gives him. It is performed nightly in Kraków, and Ayrs is much praised. Frobisher takes pride in this and has begun composing his own music again. Frobisher and Ayrs' wife Jocasta become lovers, but her daughter Eva remains suspicious of him. Frobisher sells rare books from Ayrs' collection to a fence. Frobisher is intrigued by reading the first half of The Pacific Journal of Adam Ewing, and asks Sixsmith if he can obtain the second half of the book to find out how it ends. Once, Ayrs has Frobisher write a song inspired by a dream of a 'nightmarish cafe', deep underground, wherein 'the waitresses all had the same face', and ate soap.^[1] As the summer comes to an end, Jocasta thanks Frobisher for 'giving Vyvyan his music back', and Frobisher agrees to stay until next summer.

Half-Lives: The First Luisa Rey Mystery (Part 1)[edit]

The third story is written in the style of a mystery/thriller novel, set in the fictional city of Buenas Yerbas, California, in 1975, with Luisa Rey, a young journalist. She meets Rufus Sixsmith in a stalled elevator, and she tells him about her late father, one of the few incorruptible policemen in the city, who became a famous war correspondent. Later, when Sixsmith tells Luisa his concern that the Seaboard HYDRA nuclear power plant is not safe, he is found dead of apparent suicide. Luisa believes that the businessmen in charge of the plant are assassinating potential whistle-blowers. From Sixsmith's hotel room, Luisa acquires some of Frobisher's letters. Another plant employee, Isaac Sachs, gives her a copy of Sixsmith's report. Before Luisa can report her findings on the nuclear power plant or the murders, a Seaboard-hired assassin who has been following her forces her car — along with Sixsmith's incriminating report — off a bridge.

The Ghastly Ordeal of Timothy Cavendish (Part 1)[edit]

The fourth story is comic in tone, jarring after the previous story, and is set in Britain in the present day, wherein Timothy Cavendish, a 65-year-old vanity press publisher, flees the brothers of his gangster client, whose book is experiencing high sales after the murder of a book critic. They threaten violence if monetary demands are not met. Timothy's own brother, exasperated by his frequent previous pleas for financial aid, books him into a menacing nursing home. Timothy signs custody papers thinking that he is registering into a hotel, where he can stay until his personal and financial problems can be solved. Learning the truth that he is here indefinitely without the ability to leave or communicate with anyone, and subject to the staff's complete control, he attempts flight but is stopped by a security guard and confined. Timothy briefly mentions reading a manuscript entitled Half-Lives: The First Luisa Rey Mystery, but is not initially impressed by the prospective author's manuscript and only coming to appreciate later. Timothy settles into his new surroundings, while still trying to plot a way out. One day, he is struck by a stroke, just as the chapter ends.

An Orison of Sonmi~451 (Part 1)[edit]

The fifth story is set in Nea So Copros,^[2] a dystopian futuristic state in Korea, derived from corporate culture. It is told in the form of an interview between Sonmi~451 and an 'archivist' recording her story after her arrest and trial. Several small spelling and grammatical changes are made, to represent the change in language. Sonmi~451 is a fabricant waitress at a fast-food restaurant called Papa Song's.^[3] Clones grown in vats are revealed to be the predominant source of cheap labor. The 'pureblood' (natural-born) society retards the fabricants' consciousness by chemical manipulation, using a food she refers to as 'Soap'. After twelve years as slaves, fabricants are promised retirement to a fabricant community in Honolulu. In her own narration, Sonmi encounters members of a university faculty and students, who take her from the restaurant for study and assist her to become self-aware, or 'ascended'; she describes watching The Ghastly Ordeal of Timothy Cavendish as a pre-Skirmishes film (wherein the 'Skirmishes' are a major global disaster or war that destroyed most of the world except Nea So Copros (East Asia), which foreshadows 'The Fall' in the subsequent chapter 'Sloosha's Crossin', in which Nea So Copros, and most of humanity's technological ability, have ended in disaster; the destroyed areas are identified as 'deadlands' full of disease, ruins, and radioactive contamination). During the scene when Cavendish suffers his stroke, a student interrupts to tell Sonmi and her rescuer Hae-Joo Im that Professor Mephi, Hae-Joo's professor, has been arrested, and that policy enforcers have orders to interrogate Hae-Joo and kill Sonmi on sight.

Sloosha's Crossin' an' Ev'rythin' After[edit]

The sixth story occupies the central position in the novel and is the only one not interrupted, wherein Zachry, an old man, tells a story from his youth, speaking an imagined future English dialect. It is gradually revealed that he lived in a post-apocalyptic society on the Big Island of Hawaii. His people, called the valley folk, are peaceful farmers but are often raided by the Kona tribe, who are cannibalistic slavers. Zachry is plagued by moral doubts stemming from his wrongly blaming himself for his father's death years ago. Zachry's people worship a goddess called Sonmi and recall a 'Fall' in which the civilized peoples of Earth — known as the 'Old Uns' — were destroyed, and left the survivors to primitivism. Big Island is occasionally visited and studied by a technologically sophisticated people known as the Prescients, whereof a woman called Meronym, who has come to learn their ways, is assigned to live with Zachry's family. Zachry becomes suspicious of her, believing that her people are gaining trust before doing harm, and sneaks into her room, where he finds an 'orison': an egg-shaped device for recording and holographic videoconferencing. Later, Zachry's sister Catkin is poisoned by a scorpion fish, and he persuades Meronym to break her people's rules and give him medicine. When Meronym later requests a guide to the top of Mauna Kea volcano, Zachry reluctantly guides her there to the ruins of the Mauna Kea Observatories. Here, Meronym explains the orison and reveals Sonmi's history (introduced in the prior chapter). Upon their return, they go with most of the valley-folk to trade at Honokaa; but Zachry's people are attacked and imprisoned by the Kona who are conquering the territory. Zachry and Meronym eventually escape, and she offers to let Zachry come with them, but he tells her he cannot leave. Wounded, he is taken to a safer island. The story ends with Zachry's child recalling that his father told many unbelievable tales; whereas this one may be true because he has inherited Zachry's copy of Sonmi's orison, which he often watches, even though he does not understand her language.

An Orison of Sonmi~451 (Part 2)[edit]

Hae-Joo Im reveals that he and Mephi are members of an anti-government rebel movement called Union. He then guides Sonmi in disguise to a ship, where she witnesses retired fabricants butchered and recycled into soap, the fabricant food source. The rebels plan to raise all fabricants to self-awareness and thus disrupt the workforce that keeps the corporate government in power. They want her to write a series of abolitionist Declarations calling for rebellion. She does, knitting in the themes of greed and oppression first brought up in the diary of Adam Ewing, and this final tale agrees with Ewing's ideas that if greed and corruption are allowed to take over, with the selfish overwhelming the weak successively, it will bring down all.

She is then arrested in an elaborately filmed government raid and finds herself telling her tale to the archivist. Sonmi believes that everything that happened to her was instigated by the government to encourage the fear and hatred of fabricants by purebloods. She thinks that Union is run by the government to attract malcontents so that they can be watched and controlled. However, even knowing that she will be executed, she feels that her show trial and well publicized Declarations will be inspirational nonetheless to those who will one day change things. Her last wish before her death is to finish watching Cavendish's story, which she is presumed to do.

The Ghastly Ordeal of Timothy Cavendish (Part 2)[edit]

Having mostly recovered from his mild stroke, Cavendish meets a small group of residents also anxious to escape the nursing home: Ernie, Veronica, and the extremely senile Mr. Meeks. He assists their conspiracy to trick Johns Hotchkiss, a fellow patient's grown son, into leaving his car vulnerable to theft. They seize the car and escape, stopping at a bar to celebrate their freedom. They are nearly recaptured by Hotchkiss and the staff but are rescued when Mr. Meeks exhorts the local drinkers to come to their aid.

It is thereafter revealed that Cavendish's secretary Mrs. Latham blackmailed the gangsters with a video-record of their attack upon his office, allowing him to return to his former life in safety. Subsequently, Cavendish obtains the second half of Luisa Rey's story intending to publish it, and he considers having his own recent adventures turned into a film script.

Half-Lives: The First Luisa Rey Mystery (Part 2)[edit]

Rey escapes from her sinking car but loses the report, while a plane carrying Isaac is blown up. When her newspaper is bought by a subsidiary of Seaboard, she is fired, and Luisa believes that they no longer see her as a threat. She orders a copy of Robert Frobisher's obscure Cloud Atlas Sextet which she has read about in his letters and is astonished to find that she recognizes it, even though it is a very rare piece. However, Smoke the assassin still pursues her and booby traps a copy of Rufus Sixsmith's report about the power plant. Joe Napier, a security man who knew her father, comes to her rescue, and Smoke and Napier kill each other in a gun fight. Later, Rey exposes the corrupt corporate leaders to the public. At the end of the story, she receives a package from Sixsmith's niece, which contains the remaining eight letters from Robert Frobisher to Rufus Sixsmith.

Letters from Zedelghem (Part 2)[edit]

Frobisher continues to pursue his work with Ayrs while developing his own Cloud Atlas Sextet. He finds himself falling in love with Eva, after she confesses a crush on him, though he is still having an affair with her mother. Jocasta suspects this and threatens to destroy his life if he so much as looks at her daughter. Ayrs also becomes more bold with his plagiarism of Frobisher, now demanding he compose full passages, which Ayrs intends to take credit for. Ayrs also informs him that if he leaves, Ayrs will have him blacklisted claiming he raped Jocasta. In despair, Frobisher leaves anyway, but finds a hotel nearby working to finish his Sextet and hoping to be reunited with Eva. He convinces himself that they are being kept apart from her parents, but when he finally manages to talk to her he realizes that the man she was talking about being in love with was her Swiss fiancé. Mentally and physically ill Frobisher ultimately decides, with his magnum opus finished and his life now empty of meaning, to kill himself. Before committing suicide in a bathtub, he writes one last letter to Sixsmith and includes his Sextet and The Pacific Journal of Adam Ewing.

The Pacific Journal of Adam Ewing (Part 2)[edit]

Ewing visits the island of Raiatea, where he observes missionaries oppressing the indigenous peoples. On the ship, he falls further ill and realizes at the last minute that Dr. Goose is poisoning him to steal his possessions. He is rescued by Autua and resolves to join the abolitionist movement. In conclusion (of his own journal and of the book), Ewing writes that history is governed by the results of vicious and virtuous acts precipitated by belief: wherefore 'a purely predatory world shall consume itself' and 'The devil take the hindmost until the foremost is the hindmost', and imagines his father-in-law's response to his becoming an abolitionist, as a warning that Adam's life would amount to one drop in a limitless ocean; whereas Ewing's proposed reply is: 'Yet what is any ocean but a multitude of drops?'

Reception[edit]

Cloud Atlas had positive reviews from most critics, who felt that it managed to successfully interweave its six stories. The BBC's Keily Oakes said that although the structure of the book could be challenging for readers, 'David Mitchell has taken six wildly different stories ... and melded them into one fantastic and complex work.'^[4]Kirkus Reviews called the book 'sheer storytelling brilliance.'^[5] Laura Miller of The New York Times compared it to the 'perfect crossword puzzle,' in that it was challenging to read but still fun.^[6]The Observer's Hephzibah Anderson called the novel 'exhilarating' and commented positively on the links between all six stories.^[7] Author and Booker Prize winner A. S. Byatt in a review for The Guardian wrote that it gives 'a complete narrative pleasure that is rare.'^[8]The Washington Post's Jeff Turrentine called it a 'highly satisfying, and unusually thoughtful, addition to the expanding 'puzzle book' genre.'^[9] In its 'Books Briefly Noted' section, The New Yorker called the novel 'virtuosic.'^[10] Marxist literary critic Fredric Jameson viewed the novel as a new, science fiction-inflected variation on the historical novel now 'defined by its relation to future fully as much as to past.'^[11] Richard Murphy says in the Review of Contemporary Fiction that Mitchell has taken core values from his previous novels and built upon them.^[12]

Criticism focused on the book's failure to meet its lofty goals. F&SF reviewer Robert K. J. Killheffer praised Mitchell's 'talent and inventiveness and willingness to adopt any mode or voice that furthers his ends,' but noted that 'for all its pleasures, Cloud Atlas falls short of revolutionary.'^[13]The Daily Telegraph gave the novel a mixed review, focusing on its clashing themes, with Theo Tait noting: 'In short, Cloud Atlas spends half its time wanting to be The Simpsons and the other half the Bible.'^[14]

In 2019, the novel was ranked 9th on The Guardian's list of the 100 best books of the 21st century.^[15]

Linking themes[edit]

Mitchell has said of the book:

Literally all of the main characters, except one, are reincarnations of the same soul in different bodies throughout the novel identified by a birthmark ... that's just a symbol really of the universality of human nature. The title itself Cloud Atlas, the cloud refers to the ever changing manifestations of the Atlas, which is the fixed human nature which is always thus and ever shall be. So the book's theme is predacity, the way individuals prey on individuals, groups on groups, nations on nations, tribes on tribes. So I just take this theme and in a sense reincarnate that theme in another context ...^[16]

Structure and style[edit]

In an interview, Mitchell stated that the title was inspired by the piece of music of the same name by the Japanese composer Toshi Ichiyanagi: 'I bought the CD just because of that track's beautiful title.' Mitchell's previous novel, number9dream, had also been inspired by a piece of music by John Lennon; Mitchell has said this fact 'pleases me ... though I couldn’t duplicate the pattern indefinitely.'^[17]

The book's style was inspired by Italo Calvino's If on a winter's night a traveler, which contains several incomplete, interrupted narratives. Mitchell's innovation was to add a 'mirror' in the centre of his book so that each story could be brought to a conclusion.^[18][19]

Mitchell said that Vyvyan Ayrs and Robert Frobisher were inspired by English composer Frederick Delius and his amanuensisEric Fenby.^[19]

Textual variations[edit]

Academic Martin Paul Eve noticed significant differences in the American and British editions of the book while writing a paper on the book. He noted 'an astonishing degree' of variance and that 'one of the chapters was almost entirely rewritten'.^[20] According to Mitchell, who authorized both editions, the differences emerged because the editor assigned to the book at its US publisher left their job, leaving the US version un-edited for a considerable period. Meanwhile Mitchell and his editor and copy editor in the UK continued to make changes to the manuscript. However, those changes were not passed on to the US publisher, and similarly, when a new editor was assigned to the book at the US publisher and made his own changes, Mitchell did not ask for those to be applied to the British edition, which was very close to being sent to press. Mitchell said: 'Due to my inexperience at that stage in my three-book ‘career’, it hadn't occurred to me that having two versions of the same novel appearing on either side of the Atlantic raises thorny questions over which is definitive, so I didn't go to the trouble of making sure that the American changes were applied to the British version (which was entering production by that point probably) and vice versa'.^[21]

Film adaptation[edit]

The novel was adapted to film by directors Tom Tykwer and the Wachowskis. With an ensemble cast to cover the multiple storylines, production began in September 2011 at Studio Babelsberg in Germany. The film was released in North America on 26 October 2012. In October 2012, Mitchell wrote an article in The Wall Street Journal called 'Translating 'Cloud Atlas' Into the Language of Film' in which he describes the work of the adapters as being like translating a work into another language.^[22]

References[edit]

1. ^Thus prefiguring the Sonmi fabricants, whose restaurant is underground and whose only food is called 'Soap'.
2. ^A future version of the proposed Greater East Asia Co-Prosperity Sphere with the Juche as the highest power.
3. ^Papa Song's appears to be a future McDonald's: mention is made of Golden Arches and a red/yellow color scheme.
4. ^Oakes, Keily (17 October 2004). 'Review: Cloud Atlas'. BBC. Retrieved 2 August 2012.
5. ^'Cloud Atlas Review'. Kirkus Reviews. 15 May 2004. Retrieved 2 August 2012.
6. ^Miller, Laura (14 September 2004). 'Cloud Atlas Review'. The New York Times. Retrieved 2 August 2012.
7. ^Anderson, Hephzibah (28 February 2004). 'Observer Review: Cloud Atlas by David Mitchell'. The Observer. Retrieved 2 August 2012.
8. ^Byatt, A. S. (28 February 2004). 'Review: Cloud Atlas by David Mitchell'. The Guardian. Retrieved 2 August 2012.
9. ^Turrentine, Jeff (22 August 2004). 'Fantastic Voyage'. The Washington Post. Retrieved 2 August 2012.
10. ^'Cloud Atlas'. The New Yorker. 23 August 2004. Retrieved 2 August 2012.
11. ^Fredric Jameson, The Antinomies of Realism, London and New York: Verso, 2013, p. 305.
12. ^Murphy, Richard (2004). 'David Mitchell. Cloud Atlas'. The Review of Contemporary Fiction.
13. ^'Books', F&SF, April 2005, pp.35-37
14. ^Tait, Theo (1 March 2004). 'From Victorian travelogue to airport thriller'. The Daily Telegraph. Retrieved 2 August 2012.
15. ^'The 100 best books of the 21st century'. The Guardian. Retrieved 22 September 2019.
16. ^'Bookclub'. BBC Radio 4. June 2007. Retrieved 19 April 2008.
17. ^'Paris Review - The Art of Fiction No. 204, David Mitchell'.
18. ^Mullan, John (12 June 2010). 'Guardian book club: Cloud Atlas by David Mitchell'. The Guardian. London. Retrieved 6 August 2010.
19. ^ ^abTurrentine, Jeff (22 August 2004). 'Washington Post'. Retrieved 19 April 2008.
20. ^Eve, Martin Paul (10 August 2016). ''You have to keep track of your changes': The Version Variants and Publishing History of David Mitchell's Cloud Atlas'. Open Library of Humanities. 2 (2): 1. doi:10.16995/olh.82. ISSN2056-6700.
21. ^Alison Flood (10 August 2016). 'Cloud Atlas 'astonishingly different' in US and UK editions, study finds'. The Guardian.
22. ^Mitchell, David (19 October 2012). 'Translating 'Cloud Atlas' Into the Language of Film'. The Wall Street Journal. Retrieved 19 October 2012.

Further reading[edit]

• Dillon, S. ed. (2011) David Mitchell: Critical Essays (Kent: Gylphi)

External links[edit]

• David Mitchell discusses Cloud Atlas on the BBC's The Culture Show
• Cloud Atlas at complete review (summary of reviews)
• Cloud Atlas by David Mitchell, review by Ted Gioia (Conceptual Fiction)

Cloud Atlas is a 2012 science fiction film written and directed by the Wachowskis and Tom Tykwer.^[6] Adapted from the 2004 novel of the same name by David Mitchell, the film has multiple plots occurring during six different eras in time; Mitchell described it as 'a sort of pointillistmosaic.'^[7] The film's synopsis describes it as 'an exploration of how ones soul’s sole actions of an individual lives/souls impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution... asking you how would you shape your soul and your future?'^[8]Tom Hanks, Halle Berry, and Jim Broadbent star as part of an ensemble cast.

The film was produced by Grant Hill and Stefan Arndt, in addition to the Wachowskis and Tykwer. During its four years of development, the project met with some difficulties in securing financial support. However, the film was eventually produced with a US$128.5 million net budget provided by independent sources, making it one of the most expensive independent films ever produced. Production for Cloud Atlas began in September 2011 at Babelsberg Studio in Potsdam-Babelsberg, Germany.

Cloud Atlas premiered on 8 September 2012 at the 37th Toronto International Film Festival,^[9] and was publicly released on 26 October 2012 in conventional and IMAX cinemas.^[10] Film critics were polarized, causing it to be included on various 'Best Film' and 'Worst Film' lists.^[11][12][13] It was nominated for a Golden Globe Award for Best Original Score for Tykwer (who co-scored the film), Johnny Klimek, and Reinhold Heil.^[14] It received several different nominations at the Saturn Awards (which focus on science fiction, fantasy, and horror), including Best Science Fiction Film, which went to The Avengers. However, it won Saturn Awards for Best Editing and Best Make-up.

• 3Production
• 4Music
• 5Release
• 6Reception
  • 6.3Reaction from the crew

Plot[edit]

In the Chatham Islands, 1849, American lawyer Adam Ewing (Jim Sturgess) witnesses the whipping of a Moriori slave, Autua. Autua stows away on Ewing's ship and convinces him to advocate for Autua to join the crew as a free man. Autua saves Ewing's life before Dr. Henry Goose (Tom Hanks), hoping to steal Ewing's gold, can deliver poison he claims will treat a parasitic worm. In San Francisco, Ewing and his wife (Doona Bae) denounce her father's (Hugo Weaving) complicity in slavery and leave to join the abolition movement.

In 1936, English composer Robert Frobisher (Ben Whishaw) finds work as an amanuensis to aging composer Vyvyan Ayrs (Jim Broadbent), allowing Frobisher to compose his own masterpiece, 'The Cloud Atlas Sextet'. Frobisher reads Ewing's (Jim Sturgess) journal among the books at Ayrs's mansion. Ayrs demands credit for 'The Cloud Atlas Sextet' and threatens to expose Frobisher's bisexuality if he refuses. Frobisher shoots Ayrs and goes into hiding, using the name Ewing. He finishes 'The Cloud Atlas Sextet' and shoots himself before his lover Rufus Sixsmith (James D'Arcy) arrives.

In San Francisco, 1973, journalist Luisa Rey (Halle Berry) meets Sixsmith (James D'Arcy), now a nuclear physicist. Sixsmith tips off Rey to a conspiracy to create a catastrophe at a nuclear reactor run by Lloyd Hooks (Hugh Grant), but is killed by Hooks' hitman, Bill Smoke (Hugo Weaving), before he can give her a report as proof. Rey finds Frobisher's letters to Sixsmith and tracks down Frobisher's 'Cloud Atlas Sextet.' Scientist Isaac Sachs (Tom Hanks) passes her a copy of Sixsmith's report. Smoke kills Sachs by blowing up his plane, and runs Rey's car off a bridge. She escapes but the report is destroyed. With help from the plant's head of security, Joe Napier (Keith David), Rey evades another assassination attempt, which results in Smoke's death. With a copy of the report from Sixsmith's niece, she exposes the plot and oil executives are indicted.

In London, 2012, Dermot Hoggins (Tom Hanks), author of a gangster memoir, murders a critic after a harsh review, generating huge sales. Hoggins' brothers threaten the publisher, the aging Timothy Cavendish (Jim Broadbent), for Hoggins' profits. Cavendish's brother Denholme (Hugh Grant) tells him to hide at Aurora House. On the way, Cavendish reads a manuscript based on Luisa's story. Believing Aurora House is a hotel, Timothy signs papers committing himself; in fact, Aurora House is a nursing home. Denholme reveals to Timothy that he sent him there as revenge for Timothy's affair with Denholme's wife. The head nurse, Noakes (Hugo Weaving), is abusive, and denies contact with the outside world. Cavendish escapes with three other residents, resumes his relationship with an old flame, and writes a screenplay about his experience.

In Seoul, 2144, Sonmi-451 (Doona Bae) is a 'fabricant,' a human cloned for slave labor, kept as a fast food server in a dystopian Neo Seoul, Korea. She is exposed to ideas of rebellion by another fabricant, Yoona-939 (Zhou Xun). After Yoona is killed, Sonmi is rescued by rebel Commander Hae-Joo Chang (Jim Sturgess). He exposes Sonmi to the banned writings of Aleksandr Solzhenitsyn and a film version of Cavendish's (Jim Broadbent) experience. After Sonmi is captured, Hae-Joo rescues her, introduces her to the leader of the rebel movement, and shows her that clones are recycled into food for other clones. Sonmi makes a public broadcast of her manifesto. The authorities attack; Hae-Joo is killed and Sonmi is recaptured. After recounting her story to an archivist (James D'Arcy), she is executed.

In 2321, the tribespeople of the post-apocalyptic Big Island of Hawaii worship Sonmi-451 (Doona Bae); their sacred text is taken from her recorded testimony. Zachry Bailey (Tom Hanks) is plagued by visions of a demonic figure, Old Georgie (Hugo Weaving) and he visits Abbess (Susan Sarandon), a local witch doctor to seek guidance. Zachry (Tom Hanks), his brother-in-law Adam (Jim Sturgess), and his nephew Jordan, are attacked by the cannibalistic Kona tribe. Zachry runs into hiding and his companions are murdered. His village is visited by Meronym (Halle Berry), a member of the Prescients, an advanced society using remnants of high technology, but who are dying from a plague. Meronym is searching for a communication station on Mauna Sol to send an SOS to off-world humans. In exchange for healing Zachry's niece Catkin, Meronym is guided by Zachry to the station where Sonmi-451 made her recording. Returning, Zachry finds his tribe slaughtered by the Kona. He kills the sleeping Kona chief (Hugh Grant) and rescues Catkin, and Meronym uses her gun to save him from the Kona and is saved by Zachry. Zachry and Catkin join Meronym and the Prescients as their ship leaves Big Island. On a distant planet, Zachry recounts the story to his grandchildren and joins Meronym.

Main cast[edit]

The main character in each story is indicated in bold.

Other cast members who appear in more than one segment include Martin Wuttke, Brody Nicholas Lee, Alistair Petrie, and Sylvestra Le Touzel.^[15] In addition, author David Mitchell makes a cameo appearance as a double agent in the futuristic Korea section.^[16]

Production[edit]

Development[edit]

The film is based on the 2004 novel Cloud Atlas by David Mitchell. Filmmaker Tom Tykwer revealed in January 2009 his intent to adapt the novel and said he was working on a screenplay with the Wachowskis,^[17] who optioned the novel.^[18] By June 2010, Tykwer had asked actors Natalie Portman, Tom Hanks, Halle Berry, James McAvoy, and Ian McKellen to star in Cloud Atlas.^[19] By April 2011, the Wachowskis joined Tykwer in co-directing the film.^[20] In the following May, with Hanks and Berry confirmed in their roles, Hugo Weaving, Ben Whishaw, Susan Sarandon, and Jim Broadbent also joined the cast.^[21][22] Actor Hugh Grant joined the cast days before the start of filming; he was originally supposed to have only five roles, but asked the Wachowskis for a sixth one, and subsequently was also cast as Denholme Cavendish in the 2012 storyline.^[23][24] According to Berry, the character of Ovid she plays in the 2144 storyline was originally meant to be a female character played by Tom Hanks, until the directors felt that Ovid was a logical part of the journey of the soul played by Berry.^[25]

It was financed by the German production companies A Company, ARD Degeto Film and X Filme. In May 2011, Variety reported that it had a production budget of $140 million.^[26] The filmmakers secured approximately $20 million from the German government, including €10 million ($11.8 million) from the German Federal Film Fund [de] (DFFF),^[27][28]€100,000 ($118,000) development funding^[29] and €1.5 million ($1.8 million) from Medienboard Berlin-Brandenburg, a German funder, as part of their plans to film at Studio Babelsberg later in 2011.^[26] The project also received €1 million ($1.2 million) financial support from Filmstiftung NRW,^[30]€750,000 ($887,000) from Mitteldeutsche Medienförderung, €30 million ($35.5 million) from UE-Fonds (the biggest proportion of the budget), and €300,000 ($355,000) from FFF Bayern, another German organization.^[29] The Wachowskis contributed approximately $7 million to the project out of their own finances.^[31] The budget was updated to $100 million.^[32]

The directors stated that due to lack of finance, the film was almost abandoned several times. However, they noted how the crew was enthusiastic and determined: 'They flew—even though their agents called them and said, 'They don't have the money, the money's not closed.' They specifically praised Tom Hanks's enthusiasm: 'Warner Bros. calls and, through our agent, says they've looked at the math and decided that they don't like this deal. They're pulling all of the money away, rescinding the offer. I was shaking. I heard, 'Are you saying the movie is dead?' They were like, 'Yes, the movie is dead.'... At the end of the meeting, Tom says, 'Let's do it. I'm in. When do we start?'... Tom said this unabashed, enthusiastic 'Yes!' which put our heart back together. We walked away thinking, this movie is dead but somehow, it's alive and we're going to make it.'^[33] 'Every single time, Tom Hanks was the first who said, 'I'm getting on the plane.' And then once he said he was getting on the plane, basically everyone said, 'Well, Tom's on the plane, we're on the plane.' And so everyone flew [to Berlin to begin the film]. It was like this giant leap of faith. From all over the globe.'^[31]

Some German journalists called it 'the first attempt at a German blockbuster'.^[34]

Principal photography[edit]

Tykwer and the Wachowskis filmed parallel to each other using separate camera crews.^[35] Although all three shot scenes together when permitted by the schedule, the Wachowskis mostly directed the 19th-century story and the two set in the future, while Tykwer directed the stories set in the 1930s, the 1970s, and 2012.^[36] Tykwer said that the three directors planned every segment of the film together in pre-production, and continued to work closely together through post-production.^[37]Warner Bros. Pictures representatives agreed to the film's 172-minute running time, after previously stating that it should not exceed 150 minutes.^[38]

Filming began at Studio Babelsberg in Potsdam-Babelsberg, Germany, on 16 September 2011, the base camp for the production.^[39] Other locations include Düsseldorf,^[40] in and near Edinburgh and Glasgow, Scotland,^[41] and the Mediterranean island of Majorca, Spain.^[23] Glasgow doubled for both San Francisco and London.^[39] Scenes filmed in Scotland feature the new Clackmannanshire Bridge^[42] near Alloa. The 'Big Island' and 'Pacific Islands' stories were shot on Majorca, mostly in the World Heritage site of the Serra de Tramuntana mountains. Scenes were shot at Cala Tuent and near Formentor, amongst others.^[40] The opening scene, when Adam Ewing meets Dr. Henry Goose, was filmed at Sa Calobra. Port de Sóller provided the setting for the scene when the 19th-century ship is mooring.^[43]

The film was meant to be shot in chronological order; however, Berry broke her foot two days before she was supposed to start filming. Instead of replacing her, the Wachowskis and Tykwer heavily changed the initial filming schedule; Berry stated that 'it involved travelling back and forth to Majorca and then Germany then we had to go back to Majorca when my foot got a little bit better and we were able to shoot some of that stuff on the mountainside when I could climb a little bit better. It was all over the place.'^[44] According to her, 'Tom [Hanks] would play nurse to me. He really took care of me. He would bring me coffee and soup and just stay with me during breaks in shooting because it was difficult for me to move around, especially at the beginning [...] I basically had to be helped back to my chair after every take, but you learn to adapt to the situation. But with Tom at my side, I was really able to go beyond my own expectations of what I was capable of as an actress.'^[44]

Music[edit]

The soundtrack was composed by director Tom Tykwer and his longtime collaborators, Reinhold Heil and Johnny Klimek. The trio worked together for years as Pale 3, composing music for several films directed by Tykwer, most notably Run Lola Run, The Princess and the Warrior, Perfume: The Story of a Murderer, and The International, and contributing music to the Wachowskis' The Matrix Revolutions. The music was recorded in Leipzig, Germany with the MDR Radio Symphony Orchestra and the Leipzig Radio Chorus.^[45]

The film contains approximately two hours of original music. WaterTower Music released the soundtrack album via digital download on 23 October 2012 and CD on 6 November 2012.

Reception[edit]

The Cloud Atlas soundtrack received critical acclaim. Film Music Magazine critic Daniel Schweiger described the soundtrack as 'a singular piece of multi-themed astonishment ... Yet instead of defining one sound for every era, Klimek, Heil and Tykwer seamlessly merge their motifs across the ages to give Cloud Atlas its rhythms, blending orchestra, pulsating electronics, choruses and a soaring salute to John Adams in an astonishing, captivating score that eventually becomes all things for all personages ...'^[46] Erin Willard of ScifiMafia said that it was 'cinematic, symphonic, and simply, utterly, exquisitely beautiful ... in the wrong hands the opening theme, which is picked up periodically throughout the entire soundtrack, could easily have become cloying or twee or sappy, but happily this hazard was avoided entirely.'^[47] Jon Broxton of Movie Music UK wrote, 'Scores like Cloud Atlas, which have an important and identifiable structure that relates directly to concepts in the film, intelligent and sophisticated application of thematic elements, and no small amount of beauty, harmony and excitement in the music itself, reaffirm your faith in what film music can be when it's done right.'^[48] Daniel Schweiger selected the score as one of the best soundtracks of 2012, writing that 'Cloud Atlas is an immense sum total of not only the human experience, but of mankind's capacity for musical self-realization itself, all as embodied in a theme for the ages.'^[49] The film's soundtrack was nominated for the 2012 Golden Globe Award for Best Original Score, and for several awards by the International Film Music Critics Association, including Score of the Year.

Release[edit]

The film premiered at the 2012 Toronto International Film Festival, where it received a 10-minute standing ovation.^[9][50][51]

It was released on 26 October 2012 in the United States.^[52][53]Warner Bros. distributed the film in the United States & Canada and the United Kingdom, and Focus Features International handled sales and distribution for other territories.^[54] The movie was released in the cinemas of China on 31 January 2013 with 39 minutes of cuts, including removal of nudity, a sexual scene, and numerous conversations.^[55]

Marketing[edit]

A six-minute trailer, accompanied by a short introduction by the three directors describing the ideas behind the creation of the film, was released on 26 July 2012.^[56] A shorter official trailer was released on 7 September 2012.^[57] The six-minute trailer includes three pieces of music. The opening piano music is the main theme of the soundtrack (Prelude: The Atlas March/The Cloud Atlas Sextet) by composing trio Tom Tykwer, Johnny Klimek, and Reinhold Heil, followed by an instrumental version of the song 'Sonera' from Thomas J. Bergersen's album Illusions. The song in the last part is 'Outro' from M83's album Hurry Up, We're Dreaming.^[58]

Home media[edit]

The film was released on 14 May 2013, on home media (Blu-ray, DVD and UV Digital Copy).^[59]

Reception[edit]

Critical response[edit]

The film has had polarized reactions from both critics and audiences, who debated its length and editing of the interwoven stories, but praised other aspects such as its cinematography, score, visual style, ensemble cast, and originality. It received a lengthy standing ovation at the 37th Toronto International Film Festival, where it premiered on 9 September 2012.^[60] The review aggregator website Rotten Tomatoes gives the film a 66% score based on 277 reviews. The site's consensus states, 'Its sprawling, ambitious blend of thought-provoking narrative and eye-catching visuals will prove too unwieldy for some, but the sheer size and scope of Cloud Atlas are all but impossible to ignore.'^[61] Review aggregator Metacritic collected the 'top 10 films of 2012' lists from various critics and the film was number 25^[62] and gives the film a 55 out of 100, based on 45 reviews, indicating 'mixed to average' reviews.^[63]

Film critic Roger Ebert gave the film four out of four stars and listed the film among his best of the year: 'One of the most ambitious films ever made... Even as I was watching Cloud Atlas the first time, I knew I would need to see it again. Now that I've seen it the second time, I know I'd like to see it a third time ... I think you will want to see this daring and visionary film ... I was never, ever bored by Cloud Atlas. On my second viewing, I gave up any attempt to work out the logical connections between the segments, stories and characters.'^[64] Conversely, Slant Magazine's Calum Marsh called it a 'unique and totally unparalleled disaster' and commented '[its] badness is fundamental, an essential aspect of the concept and its execution that I suspect is impossible to remedy or rectify'.^[65]The Guardian stated 'At 172 minutes, Cloud Atlas carries all the marks of a giant folly, and those unfamiliar with the book will be baffled' and awarded the film 2 out of 5 stars.^[2] Nick Pickerton, who reviewed the film for The Village Voice said 'There is a great deal of humbug about art and love in Cloud Atlas, but it is decidedly unlovable, and if you want to learn something about feeling, you're at the wrong movie.'^[66] English critic Mark Kermode on his first viewing called it 'an extremely honourable failure, but a failure' but then on a second viewing for the release of the DVD in the UK stated 'Second time around, I find it to be more engaging – still not an overall success, but containing several moments of genuine magic, and buoyed up by the exuberance of high-vaulting ambition.'^[67][68]Village Voice and Time Magazine both named Cloud Atlas the worst film of 2012.^[13]

Variety described it as 'an intense three-hour mental workout rewarded with a big emotional payoff. ...One's attention must be engaged at all times as the mosaic triggers an infinite range of potentially profound personal responses.'^[69] James Rocchi of MSN Movies stated 'It is so full of passion and heart and empathy that it feels completely unlike any other modern film in its range either measured through scope of budget or sweep of action.'^[70]The Daily Beast called Cloud Atlas 'one of the year's most important movies'.^[50]Michael Cieply of The New York Times commented on the film 'You will have to decide for yourself whether it works. It's that kind of picture. ... Is this the stuff of Oscars? Who knows? Is it a force to be reckoned with in the coming months? Absolutely.'^[71]

Box office[edit]

Despite expectations that the film could be a success,^[72] the film opened to only $9,612,247 from 2,008 theaters with an average of $4,787 per theater, ranking #2 at the U.S. box office, an opening described as 'dreadful'.^[73] The film ultimately grossed $27,108,272 in the U.S. and $103,374,596 internationally for a total of $130,482,868.^[74]

Reaction from the crew[edit]

Directors[edit]

On 25 October 2012, after the premiere at Toronto (and despite the standing ovation it received there), Lilly Wachowski^[a] stated '(a)s soon as (critics) encounter a piece of art they don't fully understand the first time going through it, they think it's the fault of the movie or the work of art. They think, 'It's a mess ... This doesn't make any sense.' And they reject it, just out of an almost knee-jerk response to some ambiguity or some gulf between what they expect they should be able to understand, and what they understand.'^[31][75]

In the same interview, Lana Wachowski stated '(p)eople will try to will Cloud Atlas to be rejected. They will call it messy, or complicated, or undecided whether it's trying to say something New Agey-profound or not. And we're wrestling with the same things that Dickens and Hugo and David Mitchell and Herman Melville were wrestling with. We're wrestling with those same ideas, and we're just trying to do it in a more exciting context than conventionally you are allowed to. ... We don't want to say, 'We are making this to mean this.' What we find is that the most interesting art is open to a spectrum of interpretation.'^[31][75]

Cast[edit]

Tom Hanks has come to heavily praise Cloud Atlas in the years that followed its release.^[76] In 2013, he stated 'I’ve seen it three times now and discovered, I swear to God, different, profound things with each viewing.'^[77] In a 2017 interview, he called it 'a movie that altered my entire consciousness', stating 'it’s the only movie I’ve been in that I’ve seen more than twice.'^[24][78]

Halle Berry stated in an interview 'It would be impossible to explain what I really feel or think about the film. It exists on so many different levels. [...] I love the totality of all the characters.'^[44][25] She talked about playing characters belonging to other ethnicities, and playing a male: 'This is so poignant for an actor and someone like me, to be able to shed my skin... you know, to do something that I would have never been able to do. If it were not for this kind of project, I still wouldn’t have done that.'^[25]

In a 2017 interview, Jim Broadbent called the film 'great to do' and 'fantastic'.^[79] In another interview, he expressed disappointment over the commercial failure of the film, stating 'It was an independent film and needed a lot of money behind it to get it out there. Warner Bros. had the distribution rights but it wasn't one of their own, so I think it might have been [marketed] harder if it was.'^[80]

Hugh Grant stated in an October 2014 interview 'I thought [Cloud Atlas] was amazing. [The Wachowskis] are the bravest film-makers in the world, and I think it’s an amazing film... it’s frustrating to me. Every time I’ve done something outside the genre of light comedy, the film fails to find an audience at the box office. And, sadly, Cloud Atlas never really found the audience it deserved.'^[81] He later stated in 2016 'the whole thing was fascinating. You know, when you work with proper people who love cinema, [the Wachowskis are] a special breed, they’re not the same as people who just make movies and we happen to use cameras. [they are] people who really love cinema.'^[24]

—David Mitchell in The Wall Street Journal.^[82]

David Mitchell[edit]

Before hearing about the Wachowskis and Tykwer's project, David Mitchell believed it was impossible to adapt his book into a film: 'My only thought was 'What a shame this could never be a film. It has a Russian doll structure. God knows how the book gets away with it but it does, but you can't ask a viewer of a film to begin a film six times, the sixth time being an hour and a half in. They'd all walk out.'^[83]

In October 2013, Mitchell called the film 'magnificent', having been very impressed by the screenplay. He was very satisfied by the casting, especially by Hanks, Berry and Broadbent, and stated he could not even remember now how he was originally portraying the characters in his mind before the movie.^[84] He also supported the changes from the novel, impressed by how the Wachowskis and Tykwer successfully disassembled the structure of the book for the needs of the movie.^[82][84]

Controversy[edit]

The advocacy group Media Action Network for Asian Americans (MANAA) criticized the film's use of yellowface to allow non-Asian actors to portray Asian characters in the neo-Seoul sequences.^[85][86] MANAA President Guy Aoki also called the lack of blackface being used to portray black characters a double standard.^[87] The directors responded that the same multi-racial actors portrayed multiple roles of various nationalities and races (not just Asian) across a 500-year story arc, showing 'the continuity of souls' critical to the story.^[85]

Accolades[edit]

The film was pre-nominated for the Academy Award for Best Visual Effects, but was not nominated in any category.^[88]

See also[edit]

Cloud Atlas Free Movie

• Soylent Green, 1972 film also depicting a future society where workers are fed with recycled bodies

Cloud Atlas Free Download

Notes[edit]

References[edit]

1. ^'CLOUD ATLAS (15)'. British Board of Film Classification. 8 October 2012. Retrieved 8 October 2012.
2. ^ ^abBarnes, Henry (9 September 2012). 'Cloud Atlas - review'. The Guardian. London. Retrieved 11 September 2012.
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5. ^'Cloud Atlas (2012)'. Box Office Mojo. Retrieved 25 April 2013.
6. ^'Cloud Atlas (2013)'.
7. ^Mitchell, David (19 October 2012). 'Translating Cloud Atlas into the Language of Film'. The Wall Street Journal.
8. ^'Wachowskis to start filming 'Cloud Atlas''. UPI. 15 September 2011.
9. ^ ^abOlsen, Mark (9 September 2012). 'Wachowskis open up their 'Cloud Atlas' at last'. Los Angeles Times. Retrieved 11 September 2012.
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External links[edit]

• Cloud Atlas on IMDb
• Cloud Atlas at Box Office Mojo
• Cloud Atlas at Rotten Tomatoes
• Cloud Atlas at Metacritic
• 'Box office business for Cloud Atlas IMDB Database'.

Cloud Atlas Free