Cube (1997 film)

Template:Short description Template:About Template:Use Canadian English Template:Use dmy dates Template:Infobox film Cube is a 1997 Canadian science fiction horror film directed and co-written by Vincenzo Natali.<ref name=C>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A product of the Canadian Film Centre's First Feature Project,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nicole de Boer, Nicky Guadagni, David Hewlett, Andrew Miller, Julian Richings, Wayne Robson, and Maurice Dean Wint star as seven individuals trapped in a bizarre and deadly labyrinth of cube-shaped rooms.

Cube gained notoriety and a cult following for its surreal and Kafkaesque setting in industrial, cube-shaped rooms. It received generally positive reviews and led to a series of films. A Japanese remake was released in 2021.

Plot

A man named Alderson awakens in a room that has hatches on each wall and floor, each leading to other rooms. He enters another room, and is killed by a hidden wiretrap.

Five different people all meet in another room: three men (Quentin, Rennes, and Worth), and two women (Leaven and Holloway). Quentin warns the group that he has seen traps in some of the other rooms. Leaven notices each hatch has plates with three sets of numbers etched into them. Rennes tests his theory that each trap could be triggered by detectors by throwing his boot into a room, and started moving through the safe rooms. This works for motion detectors and pressure sensors, but fails to trigger the trap in one of the rooms and he is killed by an acid trap.

Quentin believes each person was chosen to be there. Leaven hypothesizes that rooms whose plates contain prime numbers are traps. They encounter a mentally disabled man named Kazan, whom Holloway insists be brought along. Tension rises among the group, as well as the mystery of the maze's purpose. Worth admits to Quentin he was hired to design the maze’s shell and guesses that The Cube was created accidentally by a bureaucracy, and that its original purpose has been forgotten and that they have been placed inside only to justify its existence.

Worth's knowledge of the exterior dimensions allows Leaven to calculate that the Cube has 17,576 rooms, plus a "bridge" room that would connect to the shell, and thus, the exit. She realizes that the numbers may indicate each room's coordinates. The group travels to the edge but realize every room there is a trap. They successfully traverse a room with a trap. Holloway defends Kazan from Quentin's threats.

The group reaches the edge, but can see no exit. Holloway tries to swing over to the shell using a rope made of clothing. The Cube shakes, causing the rope to slip; Quentin catches it at the last second and pulls her up, but then deliberately drops her to her death, telling the others that she slipped.

Quentin picks up Leaven and carries her to a different room in her sleep, intending to abandon Kazan and Worth. He tries to assault her, but Worth follows and attacks him. Quentin counters savagely, then throws Worth down a hatch to a different room. Upon landing, Worth starts laughing hysterically; Rennes' corpse is in the room, proving they have moved in a circle. Quentin is horrified, but Worth realizes the room Rennes died in has now moved to the edge of the maze, meaning they haven't gone in a circle at all. Instead, the rooms are moving, and will eventually line up with the exit. Leaven deduces that traps are not tagged by prime numbers, but by powers of prime numbers. Kazan is revealed as a savant who can calculate factorizations in his head instantaneously. Leaven and Kazan guide the group through the cube to the bridge. Worth then traps Quentin in a hatch. He catches up and attempts to attack them, but Worth opens a hatch under him from the room below. All but Quentin travel to the bridge where they open the hatch, revealing a bright light.

Quentin reappears and, using a detached door lever, kills Leaven and mortally wounds Worth. As Quentin pursues Kazan through the exit, Worth grabs Quentin's legs, trapping him in the bridge’s doorway. The bridge moves, killing Quentin. As the bridge returns to the recesses of the cube, Worth crawls to a deceased Leaven to die by her side. Kazan wanders out into the light.

Cast

The cast is of Canadian actors who were relatively unknown in the United States at the time of the film's release.<ref name="record_11sep98">Template:Cite news</ref> Each character's name is connected with a real-world prison: Quentin (San Quentin, California), Holloway (UK), Kazan (Russia), Rennes (France), Alderson (Alderson, West Virginia), Leaven & Worth (Leavenworth, Kansas).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

• Andrew Miller as Kazan, a developmentally disabled savant and mental calculator
• David Hewlett as David Worth, an office worker and unwitting designer of the Cube's outer shell
• Maurice Dean Wint as Quentin McNeil, a police officer who aggressively takes charge
• Nicole de Boer as Joan Leaven, a young mathematics student
• Nicky Guadagni as Dr. Helen Holloway, a free clinic doctor and conspiracy theorist
• Wayne Robson as Rennes, an escape artist who has broken out of seven prisons
• Julian Richings as Alderson, the first killed in the Cube and the only one not to meet the others

On casting Maurice Dean Wint as Quentin, Natali's cost-centric approach sought an actor for a split-personality role of hero and villain. Wint was considered the standout among the cast and was confident that the film would be a breakthrough for the Canadian Film Centre.<ref>Template:Cite news</ref>

Development

Pre-production

Alfred Hitchcock's Lifeboat, which was shot entirely in a lifeboat with no actor standing at any point, was reportedly an inspiration for the film.<ref name="record_14sep98">Template:Cite news</ref>

Director Vincenzo Natali did not have confidence in financing a film. He cost-reduced his pitch with a single set reused as many times as possible, with the actors moving around a virtual maze.<ref name="toc_8oct98">Template:Cite news</ref> As the most expensive element, a set with a cube and a half was built off the floor, to allow the surroundings to be lit from behind all walls of the cube.<ref name="tc_5sep99"/> In 1990, Natali had the idea to make a film "set entirely in hell", but in 1994 while working as a storyboard artist's assistant at Canada's Nelvana animation studio, he completed the first script for Cube. The initial draft had a more comedic tone, surreal images, a cannibal, edible moss growing on the walls, and a monster that roamed the Cube. Roommate and childhood filmmaking partner Andre Bijelic helped Natali strip the central idea to its essence of people avoiding deadly traps in a maze. Scenes outside the cube were deleted, and the identity of the victims changed. In some drafts, they were accountants and in others criminals, with the implication that their banishment to the Cube was part of a penal sentence. One of the most important dramatic changes was the removal of food and water for a more urgent escape.<ref>Template:Cite book</ref>

After writing Cube, Natali developed the short film Elevated. It is set in an elevator to show investors how Cube would hypothetically look and feel. Cinematographer Derek Rogers developed strategies for shooting in the tightly confined elevator, which he later reused on a Toronto soundstage for Cube.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Casting started with Natali's friends, and budget limitations allowed for only one day of script reading prior to shooting. As it was filmed relatively quickly with well prepared actors, there are no known outtake clips.<ref name="tc_5sep99"/>

Filming

The film was shot in Toronto, Ontario<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> in 21 days,<ref name="toc_8oct98"/> with 50% of the budget as C$350,000<ref name="record_11sep98"/> to C$375,000 in cash<ref name="tc_5sep99"/> and the other 50% as donated services, for a total of C$700,000.<ref name="tvs_15jul99">Template:Cite news</ref> Natali considered the cash figure to be deceptive, because they deferred payment on goods and services, and got the special effects at no cost.<ref name="smh_26feb99">Template:Cite news</ref>

The set's warehouse was near a train line, and its noise was incorporated into the film as that of the cubes moving.<ref>Template:Cite news</ref> To change the look of each room, some scenes were shot with wide lens, and others are long lens and lit with different colors, for the illusion of traversing a maze.<ref name="record_14sep98"/> Nicole de Boer said that the white room was more comforting to actors at the start of a day's filming, compared to the red room which induced psychological effects on the cast during several hours in the confined space.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Only one cube set was actually built, with each of its sides measuring Template:Convert in length, with only one working door that could actually support the weight of the actors. The colour of the room was changed by sliding panels.<ref name=SFC>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This time-consuming procedure determined that the film was not shot in sequence, and all shots taking place in rooms of a specific color were shot separately. Six colors of rooms were intended to match the recurring theme of six throughout the film; five sets of gel panels, plus pure white. However, the budget did not stretch to the sixth gel panel, and so the film has only five room colors. Another partial cube was made for shots requiring the point of view of standing in one room and looking into another.<ref>Template:Cite book</ref>

The small set created technical problems for hosting a 30-person crew and a 6-person cast, becoming "a weird fusion between sci-fi and the guerrilla-style approach to filmmaking".<ref name="np_18jul99">Template:Cite news</ref>

Mathematical accuracy

The Cube was conceived by mathematician David W. Pravica, who was the math consultant.<ref>Template:Cite AV media</ref> It consists of an outer cubical shell or sarcophagus, and the inner cube rooms. Each side of the outer shell is Template:Convert long. The inner cube consists of 26³ = 17,576 cubical rooms (minus an unknown number of rooms to allow for movement), each having a side length of Template:Convert. A space of Template:Convert is between the inner cube and the outer shell. Each room is labelled with three identification numbers such as "517 478 565". These numbers encode the starting coordinates of the room, and the X, Y, and Z coordinates are the sums of the digits of the first, second, and third number, respectively. The numbers also determine the movement of the room. The subsequent positions are obtained by cyclically subtracting the digits from one another, and the resulting numbers are then successively added to the starting numbers.<ref>Template:Cite book</ref>

Post-production

During post-production, Natali spent months "on the aural environment", including appropriate sound effects of each room, so the Cube could feel like what he described as a haunted house.<ref name="smh_26feb99"/>

Release

Theatrical

Cube was shown at the Toronto International Film Festival on 9 September 1997<ref name="cube-cc" /> and released in Ottawa and Montreal on 18 September 1998.<ref name="cube-cc" /> A theatrical release occurred in Spain in early 1999,<ref name="tvs_15jul99"/> while in Italy a release was scheduled for July 1999<ref name="lp_5jul99"/> and an opening in Germany was set for later that year.<ref name="tc_5sep99"/> In the Japanese market, it became the top video rental at the time,<ref>Template:Cite news</ref> and exceeded expectations, with co-writer Graeme Manson suggesting people in Japan had a better understanding of living in boxes so resonated better with the Japanese audience, as they were likely "more receptive to the whole metaphor underlying the film".<ref name="tvs_15jul99"/>

The film's television debut in the United States was on 24 July 1999 on the Sci-Fi channel.<ref name="np_18jul99"/>

In 2023, the film was one of 23 titles that were digitally restored under its new Canadian Cinema Reignited program to preserve classic Canadian films.<ref>Pat Mullen, "Oscar Winning Doc Leads List of Restored Canadian Classics". Point of View, May 9, 2023.</ref>

A 4K restoration of the film debuted at the 28th Fantasia International Film Festival on July 30, 2024.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Home media

The film was released on VHS and DVD formats on January 26, 1999, by Trimark Home Video.

Reception

Box office

In its home country of Canada, the film was a commercial failure, lasting only a few days in Canadian theatres. French film distributor Samuel Hadida's company Metropolitan Filmexport saw potential in the film and spent $1.2 million in a marketing campaign, posting flyers in many cities and flying members of the cast over to France to meet moviegoers. At its peak, the film was shown at 220 French box offices and became among the most popular films in France of that time, collecting over $10 million in box office receipts.<ref name="lp_5jul99">Template:Cite news</ref> It went on to be the second-highest-grossing film in France that summer.<ref name="tc_5sep99">Template:Cite news</ref>

Elsewhere internationally, the film grossed $501,818 in the United States,<ref name="BOM"/> and $8,479,845 in other territories, for a worldwide total of $8,981,663.<ref name="NUM"/>

Critical response

Template:Rotten Tomatoes prose<ref name="rottentomatoes">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Template:Metacritic film prose<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Bob Graham of the San Francisco Chronicle was highly critical: "If writer-director Vincenzo Natali, storyboard artist for Keanu Reeves's Johnny Mnemonic, were as comfortable with dialogue and dramatizing characters as he is with images, this first feature of his might have worked better".<ref name="sfchronicle">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nick Schager from Slant Magazine rated the film three out of five stars, noting that, its intriguing premise and initially chilling mood were undone by threadbare characterizations, and lack of a satisfying explanation for the cube's existence. He concluded the film "winds up going nowhere fast".<ref name="slantmagazine">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Anita Gates of The New York Times was more positive, saying the story "proves surprisingly gripping, in the best Twilight Zone tradition. The ensemble cast does an outstanding job on the cinematic equivalent of a bare stage... Everyone has his or her own theory about who is behind this peculiar imprisonment... The weakness in Cube is the dialogue, which sometimes turns remarkably trite... The strength is the film's understated but real tension. Vincenzo Natali, the film's fledgling director and co-writer, has delivered an allegory, too, about futility, about the necessity and certain betrayal of trust, about human beings who do not for a second have the luxury of doing nothing".<ref name=C/> Bloody Disgusting gave a positive review: "Shoddy acting and a semi-weak script can't hold this movie back. It's simply too good a premise and too well-directed to let minor hindrances derail its creepy premise".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Kim Newman from Empire Online gave the film 4/5 stars, writing: "Too many low-budget sci-fi films try for epic scope and fail; this one concentrates on making the best of what it's got and does it well".<ref name="newmanempire">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Accolades

The film won the award for Best Canadian First Feature Film at the 1997 Toronto International Film Festival<ref name="toc_8oct98"/> and the Jury Award at the Brussels International Festival of Fantasy Film.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2001, an industry poll conducted by Playback named it the eighth best Canadian film of the preceding 15 years.<ref>Michael Posner, "Egoyan tops film poll". The Globe and Mail, November 25, 2001.</ref>

The film, and its concept of prisoners in identical rooms riddled with traps, is referenced in Liu Cixin's acclaimed in 2008 novel, The Dark Forest.

Franchise

Sequel

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} After Cube achieved cult status, it was followed by a sequel, Cube 2: Hypercube, released in 2002.<ref name=C2>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Prequel

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} A prequel, Cube Zero, released in 2004.<ref name=CZ>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Remake

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} In April 2015, The Hollywood Reporter wrote that Lionsgate Films was planning to remake the film, titled Cubed, with Saman Kesh directing, Roy Lee and Jon Spaihts producing, and a screenplay by Philip Gawthorne, based on Kesh’s original take.<ref>Template:Cite news</ref><ref>Template:Cite news</ref>

Also called Cube, a Japanese remake was released in October 2021.<ref>Template:Cite news</ref>

See also

• "The Library of Babel"
• List of films about mathematicians
• Saw (2004 film)

External links

• [https://www.imdb.com/{{#if: 0123755

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