With Coronavirus being at the forefront of many people’s minds right now, I decided to freak myself out even more by revisiting Steven Soderbergh’s Contagion from 2011. An ensemble drama that samples from the medical thriller, disaster epic, and plague film genres (while flirting with the apocalypse film), we experience the impact of a highly contagious novel virus on the world through the perspectives of a diverse cast of characters. Clinical but personable, global but intimate, and smart but accessible, the film believably illustrates how quickly a virus can spread and the unpredictable societal consequences it can unleash.
The story unfolds through a set of leading and minor characters. The main roles are Mitch Emhoff (Matt Damon), the grieving husband of the outbreak’s initial victim who struggles to protect his daughter in a rapidly deteriorating Minneapolis, Dr. Ellis Cheever (Laurence Fishburne), a high-level CDC administrator who leads the US government’s scientific response to the pandemic, Alan Krumwiede (Jude Law), an ambitious and unscrupulous blogger who doesn’t trust the authorities’ response to the emergency, Dr. Leonora Orantes (Marion Cotillard), a WHO epidemiologist that runs into an unexpected situation in Hong Kong, and Dr. Erin Mears (Kate Winslet), a CDC agent who leads in the agency’s practical, ground-level response to the threat. Supporting roles belong to Gwyneth Paltrow as patient zero, Bryan Cranston as a commanding officer in the federal uniformed service of US Public Health Service, Jennifer Ehle as a CDC research scientist, Elliot Gould as a research scientist at UC San Francisco, Chin Han as a Hong Kong government official, John Hawkes as a custodian at CDC headquarters in Atlanta, Sanaa Lathan as Dr. Cheever’s fiancé, and Demitri Martin as another CDC research scientist.
Though we follow the spread of the virus through many characters’ perspectives, Scott Z Burns’ tight scripting is clear and methodical. We’re never unsure of the action, and character motivation is concise and realistic despite the large collection of important players. Frantic without being hysterical, the onscreen representation of the virus’ timeline as sort of chapter breaks helps to smoothly transition between characters and far-flung locales while also ratcheting up the tension. There’s a whiff of science fiction to the tone in the sense that the film feels like it takes place five minutes from now.
Soderbergh shot the film, as well (under the pseudonym “Peter Andrews”) and brings his slick sensibilities to the look. Coolly washed out and digital, the visuals are nevertheless rich and aesthetically engaging. The vast majority of the effort was shot at various locations, including San Francisco, Hong Kong, Chicago, Atlanta, London, and Geneva. This approach yields results, as the backdrop feels very realistic while subtly invoking a sleek international thriller ambiance, making for an entertaining but immersive watch.
Of course, performances are excellent across the board. Everyone maximizes their screen time by allowing their character work to shine. The structure of the script demanded nuance and naturalism, and all the actors delivered, confidently acceding to Soderbergh and editor Stephen Mirrione’s abilities to piece together the relatively small vignettes to form a cohesive and humanistic representation of their arcs. If I had to pick favorites, I’d say that Damon and Winslet do the best work, as they are tasked with imbuing the film with the experience of the common person and succeed admirably, making the material relatable despite the presence of medical jargon and bureaucratic procedure.
Perhaps the most unsung hero of the movie, though, is Cliff Martinez. His electronic score is percussive, dissonant, minimalist, and distinctive. Accentuating the foreboding and anxiety of the narrative, he again shows why he is one of the best composers of the last decade. Not meant to fade into the background, the music is in your face and effectively operates as an important aspect of the piece’s overall mood.
I was already a fan of Steven Soderbergh’s Contagion, but watching it again in our current environment was particularly engaging and downright eerie. Cautionary but ultimately optimistic, the film works in pretty much every aspect. Beyond its seemingly prescient topicality, it’s a solid chunk of entertainment as well. This is no genre potboiler, though, as it blazes its own path and feels quite fresh as a result. Highly recommended for fans of plague narratives, ensemble pieces, and intelligent thrillers.
Michael Cavender