We live in a culture that worships celebrities and in a world where it can at times be difficult to discern truth from reality. These are among the central messages of "Simone." The story begins with washed-out director Viktor Taransky (Al Pacino), who has just been fired by the studio head, his ex-wife Elaine Christian (Catherine Keener). Dejected, rejected Taransky is desperate for some salvation in his career, and it comes to him in the form of Hank Aleno (Elias Koteas). Aleno has created a completely digital actress called "Simulation One" which becomes shortened to "Simone." Koteas soon dies and leaves "Simulation One" to Taransky.
Despite the interesting subject matter of the film, there are several holes in the plot. Although Taransky says he has no knowledge of computers, he suddenly morphs into a computer genius upon receiving "Simulation One," a program capable of developing and molding Simone to fit any occasion. His creation is strikingly beautiful and mysterious, and Taransky uses Simone in his movie, which is released to an enthusiastic public.
Taransky uses Simone in his next film, which leads to the second example of illogical flaws in the plot. The cast readily accepts the fact that Simone does not act alongside them. Taransky tells them that Simone is extremely private and works better by herself. The co-stars are entranced by Simone, and follow what she says, no questions asked.
The press, particularly two reporters played by Pruitt Taylor Vince and Jason Schwartzman, hound Taransky for information about this alluring new actress. At first, this subplot seems to have potential, as it appears that these reporters might uncover Taransky's secret. At the risk of giving some of the plot away, nothing ever becomes of their investigation.
Though there is certainly potential for conflict throughout the film, nothing actually happens. This subplot ends unresolved and with no apparent point. The practically useless subplot only adds to the length of the movie, which is too long and at times feels tedious.
Meanwhile, Taransky grows closer to Christian. The chemistry between the two is realistic and well-crafted. They have to deal with working in the same studio, being ex-husband and wife and raising their daughter Lainey (Evan Rachel Wood).
Wood earnestly plays Lainey, who is instrumental in offering moral support to her father. Pacino is, not surprisingly, terrific as Taransky. The trials Taransky goes through both with others and internally are shown in the deep lines on Pacino's almost haggard face.
Taransky uses Simone to save his career and to feel better about himself, but as Simone becomes a demigod to the public, he begins to question whether or not Simone is doing more harm than good. Simone captures the hearts of the public, but she has infiltrated Taranksy's mind.
The most interesting conflict in this film isn't between Taransky and the reporters, or Taransky and Christian, but between Taranksy and himself. Taranksy speaks to Simone, trying to justify the fraud he has committed, but in doing so he also speaks his opposing arguments.
Essentially, Simone is the voice of Taransky's conscience, and as Taranksy argues with Simone, he is really arguing with himself.
Cleverly enough, the closing credits list Simone as playing herself. In actuality, model Rachel Roberts gives life to Simone. Though it may sound dubious that a model can act, Roberts plays the role of Simone beautifully and is a realistic computer creation; it is easy to think of Simone as a real person, just as those in the movie do.
"Simone" is written and directed by Andrew Niccol of "Gattaca" and "The Truman Show" fame. In these three movies, Niccol challenges the audience to evaluate what constitutes reality. The trailers for "Simone" gave the impression that the movie is a comedy, and to some extent it is. There are, however, dark moments and deeper issues presented as Taransky spirals out of control. Only in these moments do we realize the connection that Niccol is making to his previous films.
In a final analysis, "Simone" is entertaining, though monotonous at times, and raises several pertinent questions. Though it may seem dubious that everyone in the movie is at Simone's command and hypnotized by her image, is it really far from the adoration we bestow upon celebrities?
With all of the special effects in movies today, how much of movies are real? People in the film believed Simone was real without ever seeing her in person because they saw pictures of her in magazines and on the screen. This begs the question: how much of what we read, see or hear is actually true?