I think that next week, it may be the Paul Haggis directed 'The Next Three Days', and I may also relent and catch either 'Harry Potter' or 'Tron' before they depart the big screen. But this week, there was only one choice for my triumphant return, and that was Danny Boyle's latest '127 Hours'.
I've been looking forward to this for a few months now. If you've been following my blog, you may even remember that I posted the trailer and called it one to watch. The true story of Aron Ralston, an American mountaineer, it details a memorable trek through the Utah mountains. After a brief flirtation with two fellow explorers, he is soon back to his favourite status, that of a loner. Only one problem with that, if no-one is with you or knows your whereabouts, if anything happens, you're on your own. And boy does he find that out when a rock gives way, and he falls down a 30ft drop, with said boulder landing square on his right arm.
What follows is the account of the following 127 hours. Given that Aron survived to tell the tale, you know it is inevitable that he will get out from under the rock. However, that does not take away from the raw intensity and nerve shredding attempts to free his arm.
If the film was just Aron on his own for the 90 minutes, there's a chance it would have inevitably run out of steam. After all, how many ways can you show a man struggling to free his arm? This is where Danny Boyle and his co-writer Simon Beaufoy are clever. They pepper the running time with visions, memories, dreams, basically showing what thoughts must have been going through his mind. If you were convinced that your time was running out, what would you be thinking about?
There are flashbacks to a girl he once loved and let go. Memories of his parents, and how he never appreciated them as much as he should have. The workmate who he should have told exactly where he was going. These are just a couple of examples, and Boyle is not afraid to show you that Aron was far from perfect, and in fact was a bit of a prick at times. But you always sympathise with him, because he is resourceful, witty and above all, human. James Franco gives an incredible performance, and if another actor had have taken the role, it may not have been half as powerful. I think they should just give him the Best Actor Oscar now, but in a year where Inception will be largely ignored by the Academy, nothing will surprise me come February.
The film also works well in its presentation of opposites. It begins in a flurry of high energy, split screen images, showing modern life in all its neon, bustling glory. It therefore acts as respite when Aron reaches the vast wilderness of Utah. We feel his relief and almost wish we had the drive to join him. However, after over an hour in his company, having front row seats to his mental desintegration, the same images are repeated and it's a most welcome sight.
A special mention must also go to the, already, most famous (infamous?) scene. You probably know by now how Aron manages to get free and it's not for the faint hearted. A full on, three minute, uncompromising and uncomfortable scene, it is nevertheless one of the tensest you will see in any movie of the last 10/20 years. And the release you feel at the end of it, it must be close to the real emotion that Aron himself experienced!
Also praiseworthy is the music of the film. Boyle has once again utilised the services of A.H. Rahman, after the two successfully collaborated on Slumdog Millionaire. The high energy opening, the quiet, contemplative moments right through to the cathartic joy of the end are all perfectly enhanced by the composition and choice of the music.
This is such a strong start to 2011, and Danny Boyle is quickly becoming as consistent and exciting a director as Christopher Nolan or David Fincher. I await his next with relish.
Until next time............
No comments:
Post a Comment