In Search of a (“Better”) Soul 

Cold Souls (2009, USA, Russia) directed by Sophie Barthes, and starring Paul Giamatti (as himself), Plays Metaphysics for Warm Laughs

Review and interview by Michael Ricciardi

Blending science fiction, metaphysical whimsy, socio-economic critique, and dark, dead pan, existential humor, Cold Souls invites you into the world of a working actor who is willing to do whatever it takes to “get into” his role—even if it means “taking out” his soul. In this case, the cited role is the lead in a Russian staging of Anton Chekhov’s Uncle Vanya, a storied and coveted role in the stage-acting world. 

But for Mr. Giamatti, being cast as Uncle Vanya brings with it deep anxiety and insuppressible self-doubt. Before leaving for Russia, while at home in New York City, Giamatti picks up a copy of the New Yorker and chances upon an article about a new, high-tech outfit that offers “soul extraction” services, and the promise of ending one’s existential suffering. Feeling that he is perhaps better off without the burden of a soul anyways, he sets up a consultation appointment.

Viewing the service as merely temporary—just long enough to get him through this role—the actor enlists their “service”, signs the necessary papers, and permits his soul to be extracted (conveniently stored in a sleek, glass tube). Before being placed into storage (in a warehouse in New Jersey), he is given a good look at his newly extracted, spiritual essence, only to discover that it is no bigger than a chick pea (indeed, it seems to be a chick pea). 

Our now soul-less actor, feeling both temporarily lighter and maybe a bit happier (or unaffected by life), begins rehearsals for the play. But alas, his craft is thrown off-kilter, and can offer only a parody of acting, as he cannot “find” his actor voice, nor the psycho-emotional depth, to bring the role authentically to life. Suddenly, now overcome with an indescribable sense of emptiness, he realizes that his decision was a mistake, and seeks to get his soul back in haste. 

This quest to retrieve his stored soul is thwarted when he discovers that his soul has been “borrowed” (or hijacked) by another, and learns that it is in transit--residing in a soul “mule” somewhere en route back to Russia, where it will be the replacement soul for that of a talentless, soap opera actress. In the meantime, Giamatti is loaned a different soul (a poet’s) and resumes his Uncle Vanya rehearsals with new-found voice and depth (perhaps surpassing even his own).

The concept-driven film, despite a few lulls, manages to hold us enwrapped in its soulful questing, thanks to the playfulness of the story, and, most especially, the compelling Mr. Giamatti. Giamatti possesses a rare combination of traits—he is able to portray the average schlub—the “every man”—deftly, easily, yet with a strange, inchoate charisma that makes you want to watch every little thing he does on screen.

Written and directed by first-time director Sophie Barthes (no relation to famed literary theorist Roland Barthes, though she admits a love for his writings), Cold Souls is in many ways a modern take on Faust. The director claims that the idea for the script came to her in a dream—a dream in which she finds herself in line, holding a box containing her soul, while just in front of her is Woody Allen, who becomes outraged upon discovering that his soul is the size of a pea. The core theme of the film is also deeply anchored in psychological theory, noting her chance discovery of an old copy of Carl Jung’s classic Man in Search of a Soul, which may have actually triggered the original dream.

Ms Barthes, in an interview with this writer, expressed her desire to make “poetic science fiction”, noting such influences as Gattica and Solaris. In this desire, she may have come quite close, but with a decidedly more humorous and playful approach. Though an agnostic, Ms Barthes was intrigued with the opportunity to explore ideas about God, the soul, and the struggle of the self against, or within, “The System”.

The screenplay was actually the winner of the Nantucket Screenplay Competition in 2006, where, by chance, Paul Giamatti was presenting an award. This chance meeting would prove fortuitous, as later, she would present the screenplay to Paul’s production company for consideration. Originally intending to have Mr. Allen play the lead role--until she saw Paul in American Splendor--the decision to have Mr. Giamatti “play himself” as he searches for his soul (which he at first objected to, insisting: “I’m not that interesting a person!”) seemed to Ms Barthes an apt metaphor for the “slipperiness of soulfulness” as it confronts the modern world’s commercialism and capitalism. Indeed, there is a consistent, though unspoken, critique of pervasive consumerism underlying the action of the film. 

The “Faustian pact” made by her lead character has a good bit of autobiographical realism in it too. “Whenever I go to Hollywood, I feel like I am selling my soul.” And, citing her preference for the film making culture of Europe (Ms Barthes is quite French), she added: “It’s a bit suffocating here (in America) for a filmmaker.”

The film features a gifted cast of performers, including Paul Giamatti, David Strathairn, Dina Korzun, Emily Watson, Lauren Ambrose, and Katheryn Winnick.

For his part, Mr. Giamatti decided that he would approach the role as “just a guy who happens to have my name”. Fortunately for us and the film, he happens also to be the real Paul Giamatti with his skill for understated, comedic delivery and endearing pathos.