21 Grams is the story of three individuals: Paul Rivers (Sean Penn), Christina Peck (Naomi Watts), and Jack Jordan (Benicio Del Toro), whose lives gradually intertwine through a tragic accident. Paul is unhappily married to his wife and awaiting a heart transplant. Christina, on the other hand, is deeply content in her life with her husband and their two daughters. Jack is a former convict who has now seen the light and, with Jesus as his guide, has found the strength and courage to raise his children as an upstanding member of society. Through the events that surround them, they each learn truths about themselves, love, life, courage, longing, and guilt—how the changes around them can ultimately change them too.
On the back of the film’s cover, it says:
“It’s said that 21 grams is the weight we lose when we die. As much as the weight of five nickels, a hummingbird, a chocolate bar—and perhaps even the human soul.”
These are indeed thought-provoking words, but they have very little to do with the film itself. It’s simply a clever way to pique the interest of those of us who enjoy philosophical films—and it works!
I don’t think 21 Grams is for everyone. It’s highly fragmented, and you have to piece the events together in the right order yourself. At times, the order doesn’t really matter, while the most fundamental scenes naturally fall into place almost on their own. To some extent, this fragmented storytelling strengthens the film, but not nearly as much as the confusion and frustration it causes—especially at the start. That said, it becomes increasingly clear that the more information you have about the events, the better the film gets.
One thing I noticed in 21 Grams immediately, and something I never thought I’d mention in a review, is that Sean Penn—this multifaceted actor whom I’ve often compared to Robert De Niro and Al Pacino—is actually outshined by both Naomi Watts and Benicio Del Toro. Naomi Watts, in particular, absolutely shines in several of her scenes. She proves once and for all that she’s an actress to watch in the coming years.
So, would I recommend this film? Sure, it’s well-made and, in many ways, very good. But I can’t help feeling disappointed by it. Perhaps my expectations were too high, or maybe I felt a bit let down by the lack of the philosophical depth I had anticipated. That’s certainly part of it, but the real issue is something I touched on earlier: it’s simply too fragmented for its own good—balance is key.
Watch it and judge for yourselves!
