As befits escapism, “Sky Captain” is not so much apolitical as capable of being cogently interpreted in ways that are diametrically opposed to one another. On the one hand, “The World of Tomorrow” is a great war cry for American unilateralism, for white boy soldiers charging off to the “savage” corners of the world to bring civilization and gunfire, and for the military to keep the press in its pocket. Sky Cap is emphatic about Polly, his own embedded journalist, not writing a word or taking a picture without his persmission. On the other hand, the movie can be seen as a criticism of black-and-white (or sepia) morality by putting it in such an openly ridiculous milieu. One could claim that “The World of Tomorrow” puts Sky Captain-style militarism on the same fairy-tale level as giant robots and video game logic. The movie is its own witty rejoinder. I can see it now, on the floor of Congress: “If it please the Chair, I’d like to remind my esteemed colleague that this is real life, not ‘Sky Captain and the World of Tomorrow…’” At which point, harumphs of bicameral laughter well up from the other representatives.
“Sky Captain and the World of Tomorrow” is not a perfect movie. It leaves one hoping for another movie that will be more comfortable with the exact same technology, that looks just as good without having to sacrifice a more human touch. Still, as the movie stands now, it is a terrific big-screen, popcorn-munching experience. Don’t wait for it to get to video.
Finished October 26, 2004
Copyright © 2004 Friday & Saturday Night
Page one of "Sky Captain and the World of Tomorrow." Back to home.