In the past year I have watched on screen piranhas devouring male genitals, robogeshias burning the flesh off of a man’s face with acid breast milk, and a man named Machete use an intestine like it was a bungee rope. Yet none of those moments evoked a reaction out of me the way a scant ten minute scene in 127 Hours did.
Directed by Danny Boyle, 127 Hours is based on the true life story of Aron Ralston (James Franco), a mountain climber who found himself trapped for 127 hours in a near life-ending predicament. Known for frequently going out canyoneering alone near Moab, Utah, Ralston would often take off in the great outdoors without telling anyone where he was going. One day, after spending time with two hikers he meets along the way, Kristi (Kate Mara), and Megan (Amber Tamblyn), Ralston’s solo journey takes a turn for the worst when his arm becomes trapped under a fallen boulder. Trapped for over five days, Ralston’s will to live is what keeps him going. Ralston is forced to use all of his survival instincts in order to get himself out of the canyon and find his way to safety.
If you have already heard the story of Aron Ralston, read his book, or reard any reviews of the film then you know the lengths he must go to in order to free himself from the boulder. While the scene is not that long in regards to the films overall running time; the intensity of the scene makes it feel like an eternity. While Danny Boyle never lets the film get as graphic as your mind makes the moment out to be, he by no means attempt to shy away from the details either. Boyle’s sharp camera angles and editing bring every severed nerve to life on screen. It has been a long time since I squirmed so much in my seat, in such a short span of time, during a film.
As Ralston, James Franco does a terrific job of selling the agony and pain his character is going through in that scene. Franco is given the tough job of making the audience care about Ralston completely in the span of time before the crucial moment occurs. Alternately, Aron Ralston could have been portrayed as an arrogant daredevil who was destined to have such an encounter. Yet Franco shows that Ralston is merely a kind hearted soul who loved the outdoors as much as he loved his family. Most importantly, Ralston loved life and was willing to do anything to continue living for as long as he can.
Along with Franco’s great performance, Danny Boyle really deserves praise for making 127 Hours work as well as it does. Unlike Cast Away, to which this film is frequently and unjustly compared, 127 Hours uses the simplest techniques to keep its man alone in nature story moving at a brisk pace. Whether it is the crane shots that emphasize the gravity of Ralston’s circumstance, the split screen sequences, or the way Boyle showcases Ralston’s bouts of delirium through flashbacks and visions, there is never a moment when the film feels long and/or plodding. Boyle manages to make a rather engrossing film out a situation where the majority of the film takes place in one small and confined setting. While he may not get the same level of love that the Coen Brothers, Christopher Nolan, or Darren Aronofsky do amongst the online community, Boyle continues to showcase why he is one of the best directors working today.
It is easy to dismiss 127 Hours as another Cast Away but that would be foolish. 127 Hours is a film that rises above its simple premise and offers up a film experience that is both fascinating and long lasting.
One of the most fascinating aspects of Darren Aronofsky’s highly praised film, Black Swan, is its unique stance on what is perfection. While it is a common belief that perfection is achieved through flawlessness, Black Swan takes the opposite approach. It is only when we embrace both our flaws and darkest desires that we truly reach a state of perfection.
Nina (Natalie Portman) is a ballerina at a prestigious ballet company run by artistic director Thomas (Vincent Cassel). When the principle ballerina, Beth Macintyre (Winona Ryder), is fired, Nina sees this as her chance to make her mark. Obsessed with nailing the lead in the new company production of Swan Lake, Nina pushes her body to the limit. Although Nina has the technique needed to succeed in the lead role, Thomas feels that she is too innocent to truly capture the spirit of the Black Swan. Nina becomes increasingly paranoid when Lily (Mila Kunis) joins the company. Lily is a free spirit who has a naughty side that is perfect for the role of the Black Swan. With her mother (Barbara Herhsey), a former ballerina, pressuring her to succeed where she once failed; along with the threat of Lily taking her role, Nina must decide how far down the dark path she is willing to go.
If Black Swan was an album, it would be a greatest hits compilation as that is what the film feels like at times. Black Swan incorporates all the best moments of director Darren Aronofsky’s directorial career up to this point. The film showcases his great method of storytelling while still incorporating the visual flair of his earlier works. Aronofsky takes us down the rabbit hole of madness and show us the beauty that lies within it. It is clear that Aronofsky has truly figured out how to keep his story at the forefront without overindulging in the visuals. There are so many smartly placed visual cues that Aronofsky is practically daring the audience to revisit his dark world after the film is over.
It is not easy to make a film primarily set in the confines of a ballet thrilling from start to finish but this is exactly what Aronofsky does. A lot of the film’s success is due to the wonderful work done by the ensemble cast. Natalie Portman really gives herself to the role both mentally and physically. When displaying Nina’s increasingly unstable mindset, Portman never loses that naiveté which Nina has at the beginning of the film. It is this reluctance of letting go of her innocence that not only makes Nina such a fascinating character, but also makes her final transformation even more stunning.
While Portman is getting a lot of Best Actress Oscar buzz for the role, the performances that stood out the most were the work by the supporting cast. Mila Kunis is quickly becoming an actress who is surpassing all of my expectation. She is fabulous as Lily and allows the film to send the audience on a few red herrings. Although Vincent Cassel continues his string of great performances, Black Swan might finally be the film that makes him a household name to mainstream audiences in North America. He is brilliant as the lecherous Thomas and his scenes with Winona Ryder are simply wonderful. Speaking of Winona Ryder, it is great to see her getting prominent work in movies again. Both Ryder and Hershey are exceptionally good in this film. Hopefully Black Swan will re-launch both careers to the point where they each get more meaty roles in films.
Black Swan is a film that should, and most likely will, be a prominent fixture when the Academy Award nominations come out in a few weeks. It is intelligent and visually thrilling without ever conforming to common convention. The performance and the direction makes this film a must-see for even the causal film watcher.
I was watching The Thomas Crown Affair again on television the other day and it got me wondering where has Rene Russo gone? Like any actor, Russo has had her ups and downs in regards to quality of films she has been in, but she has always shown that she is a capable actress. While Hollywood is notoriously unkind to women of a certain age, Russo is one of those women who gets better looking with age. If Darren Aronofsky can resurrect Barbara Hershey’s career imagine what he could do with Russo’s.
Career Highlights: The Thomas Crown Affair (1999); Get Shorty (1995); In the Line of Fire (1993); Ransom, (1996); Tin Cup (1996); Major League (1989); One Good Cop (1991); Leathal Weapon 4 (1998).
Low Points: Buddy (1997); Outbreak (1995); The Adventures of Rocky & Bullwinkle (2000); Mr. Destiny (1990); Lethal Weapon 3 (1992); Big Trouble (2002); Freejack (1992);Showtine (2002).
Last Seen On The Big Screen: Yours, Mine and Ours (2005).
Where You Will See Her Next?: In Marvel’s next big franchise film, Thor.
