Interstellar: Nolan's Ode to Classic Film in the Digital Age
, by Unboxify, 3 min reading time
, by Unboxify, 3 min reading time
“Do not go gentle into that good night. Old age should burn and rave at close of day. Rage, rage against the dying of the light.” These timeless words can encapsulate both the human struggle depicted in Christopher Nolan's Interstellar and the battle between traditional film and digital technology. While Interstellar explores profound questions about humanity's future, a deeper layer reveals a poignant tribute to the art of celluloid.
In Interstellar, NASA proposes two plans to save humanity:
Our protagonist, Cooper, is coerced into a mission with high stakes. But, as the film progresses, we learn these plans aren't as they seem—mirroring the tension between film and digital technology in moviemaking.
Christopher Nolan, a staunch advocate for shooting on film, likens the transition to digital to an involuntary surrender:
“The transition starts with people offering a new choice but it finishes with taking your choice away.”
Just as the earth in Interstellar is doomed, so too is the future of film, facing imminent extinction as digital takes over. Studios like Paramount, who co-produced Interstellar, have even ceased releasing film prints, marking a stark contrast to the era of large-format films.
In an era dominated by digital media, Nolan's choice to shoot Interstellar entirely on film—using formats ranging from 35mm to 65mm IMAX—serves as a powerful homage to the golden age of cinema:
Nolan's inspirations include classics like Solaris, where:
Similarly, Cooper—widowed and bound to his past—embarks on an interstellar quest, landing on water-themed planets and eventually returning to an altered version of his home.
Another influence is Shinkai’s tale of love across space:
In Interstellar, Cooper maintains an emotional bond with his daughter, Murph, using basic communication across vast distances, with Cooper remaining ageless as Murph ages.
No analysis is complete without mentioning Kubrick’s masterpiece:
Nolan doesn’t just nod to classic films; he embeds practical elements of filmmaking into Interstellar:
In Interstellar, time is the formidable antagonist:
In a climactic sequence, Cooper enters a black hole, discovering the "tesseract," where time is a tangible dimension. By manipulating these “time strips,” he influences the storyline, just as a filmmaker crafts a narrative.
Interstellar transcends its plot as a space epic, becoming a rich allegory for the evolution of cinema. It’s about the transition from the tactile, emotive craft of film to the sleek, efficient world of digital. It begs the question: Can we preserve the essence and magic of traditional filmmaking amid technological advances? As Nolan rages against the dying of celluloid, Interstellar stands as a monumental testament to the enduring power of classic cinema.