"127 Hours", director Danny Boyle's ("Trainspotting", "28 Days Later") follow-up to "Slumdog Millionaire" is a near great film. I honestly can't tell you the last time I was so moved by a piece of celluloid. "127" has created both pleasant and nightmarish memories, memories that will stay with me for many, many years to come.
Aron Ralston (James Franco) quickly grabs some supplies and heads out to his favorite spot, the canyons near Moab, Utah. As soon as the sun rises, he jumps on a mountain bike and heads out to explore and enjoy the great outdoors, heading to a spot some twenty miles away. He crosses paths with two young women, Kristi (Kate Mara) and Megan (Amber Tamblyn) and agrees to show them the way to their destination. Once there, they swim and dive and have fun. After a few hours, they head on to complete their individual journeys. As Aron navigates a narrow crevasse, a small boulder comes loose, causing him to fall and wedging his arm between the wall and the boulder. He can't budge it and becomes worried at the sight of some streaks of blood. Aron takes stock and has very limited food, some water, stretchy cord, a camera, a video camera and a dull knife. Before leaving for the trip, he wasn't able to find his Swiss Army knife, so he is left with a dull give-away promotional knife. He tries to chip away at the sandstone, to move the rock, but doesn't make any progress. Over the next five days and twenty hours, Aron has to figure out how to use the limited supplies he has to survive until he can be rescued. Or, on the other hand, he has to figure out if and how he can get out of this situation on his own.
Boyle starts the film by masterfully depicting why Aron, and others like him, are so eager to escape the city, eager to mountain bike in the wilderness, eager to climb rock formations, eager to backpack. When he meets the two women, they even remark about how they don't feel like they figured into Aron's day. Aron is the type of guy who actively looks for adventure and makes decisions on the spur of the moment. This is why he agrees to spend time with the young women, setting his schedule back half a day.
As soon as Aron gets trapped, Boyle has to do something to give us more details into the adventurer's history. He has to make us care about this man and he can't really do that by keeping us only with Aron for the rest of the film. As Ralston tries to assess his situation, a memory surfaces and this gives Boyle the opportunity to show us a brief part of his past. The technique Boyle uses seems more suited for films made in the late '60s. And normally, this would drive me crazy. But in this situation, these moments work, primarily because they are pretty brief. They also move back and forth between more real and more imagined settings. For instance, Aron remembers a moment he and his dad shared during his childhood. They sit on an old couch in the family home, talking. Then his dad is gone and young Aron is still sitting on the couch, but the couch now sits in the crevasse Aron is trapped in, the sand and rock walls surrounding the furniture, visible to the side.
Boyle introduces us to Aron's father (Treat Williams) and mother (Kate Burton) and the love of his life, Rana (Clemence Poesy). These moments, though brief, helps to give us insight into Aron's character and life. Because they are so brief, it is surprising that we feel we know Aron and his family so well. We really get a feeling for him and come to care for him.
A lot of the credit for the success of this film lies with Franco. For much of the relatively short running time, Franco is the only person on screen and this would only serve to amplify any poorly acted moment, any false characterization, any thing that doesn't ring true. From the first moment he is on screen, we start to understand him. He is most happy when he is explaining what some stretch of wilderness is, the history of a cavern, earning some bit of solitude to compensate for any minute of time he is forced to spend cooped up in the city. In this element, he finds peace and revels in every moment.
When he meets Kristi and Megan, Franco's smile helps us recognize he simply wants to have a good time. Sex isn't a part of the equation, he wants to share some moments with like personalities. Later, when he is trapped and has a lot of time to think, he remembers back to some moments in his life. When we return to him, Franco's demeanor and facial expressions seem to be an honest portrayal of how the young man would react. And make us feel he is really remembering these moments.
When Aron finally realizes what he has to do, Franco shows us the horror of this realization and the pain of this decision.
THE moment is both necessary and extremely difficult to watch. It is necessary because it is a part of the story. But so many other filmmakers would shy away from a frank depiction of this moment. Boyle doesn't. Without it, the story would be nowhere near as impactful. Because of it, you might have nightmares. It would be gruesome enough, hard enough to watch if he had found his Swiss Army knife. But without it... I just shudder thinking about it again.
The film ends with a coda giving us an update on Aron Ralston's life. During the moments before this, I started to tear up because he was going to be okay, because he was going to make it, something I already knew given he wrote the book this film is based on, but I was still extremely moved. And the last few moments give us a glimpse of the real Ralston and all of the people affected by this incident. Because of everything Boyle and Franco are able to accomplish throughout the film, I was extremely moved by these brief images.
Best of all, Boyle ends the film, presents this coda, in a way stylistically in tune with the rest of the journey and all of those memory flashbacks/
"127 Hours" is a great piece of filmmaking. You need to see it. You can always close your eyes if that scene becomes too much for you.
From the macabre paranoia of "Shallow Grave" to the comedic debauchery of "Trainspotting" to the disturbing creepiness of "28 Days Later" to the fanciful romanticism of "Slumdog Millionaire," director Danny Boyle has made kinetic films that really connect to the viewer at a visceral level. Very much a visual stylist, Boyle uses every tool at his disposal--quick cut editing, frantic camera movement, fantasy sequences, jarring music--to really delve into the emotional core of whatever story he is telling. At first glance, "127 Hours" would seem an odd follow-up to the Oscar winning "Slumdog." Stripped down to the most primal level, "127 Hours" is one of the simplest, most straightforward narratives you're likely to encounter. And yet, through the technical bells and whistles and an earnest James Franco performance, you are immersed in a world of madness, desperation, perseverance, hope, struggle and ultimately survival. And there is no denying that this very matter-of-fact tale packs a punch!
Franco plays real-life adventurer Aron Ralston. In 2003, the reckless Ralston set off to explore Utah's Canyonlands National Park. No one knew where he is going and safety was secondary to fun in Ralston's blissed-out commune with nature. While negotiating a crevice, a boulder dislodged and trapped Ralston's arm stranding him in isolation within the earth. The film then documents Ralston's dilemma for the next 127 hours. With limited supplies and no mobility, Boyle makes the most of his claustrophobic environment by inviting us into Ralston's mind. And the primary success of "127 Hours" is that it really traps us within this confined space as well. We're there to the bitter end where survival and sacrifice meet at a crossroads.
In many ways, I wish people cold go into "127 Hours" with no expectations and forewarning of what is going to happen. I know that's naive. Ralston's tale is certainly public domain--reported on TV, the subject of books and news features. In fact, the entire film is marketed around the gruesome turning point in Ralston's struggle. This decisive act that spared Ralston's life is so harrowing and Boyle does not shy away from its unpleasantness. But the promise of this scene lingers over all that proceeds it. We are biding time for this ultimate act. We know what's going to happen and we know it's going to be graphic--everyone has told us so well in advance. But that sequence is so strong, it has come to define the entire movie. "127 Hours" has literally come to be described as "the movie where he......." (I, for my part, have resisted divulging this point--although you can read it everywhere else, including the product description and other reviews).
Franco does a great job making us root for Ralston. Impetuous and somewhat irresponsible, this thrill seeker didn't take the necessary precautions advisable. He thought he was immune to the dangers inherent in the mountain. But Franco makes him such a life force, you want him to be the victor over his poor decisions. His whip smart survival instinct keeps him alive and he never gives up. But as he faces mortality, he comes to understand his shortcomings and even faces visions of the future. His videotaped proclamations to his family are the emotional highpoint of "127 Hours." Franco is a physical actor and acquits himself well in the adventure scenes--but it is the immobile moments that showcase an interior to Franco that hasn't always been on full display in other films. Boyle takes full advantage of Franco and delivers one of the year's most effective human dramas. Stunning in its simplicity, "127 Hours" has an energy and vitality that make it stand out from the pack. KGHarris, 11/10.
Buy 127 Hours (2010) Now
From the macabre paranoia of "Shallow Grave" to the comedic debauchery of "Trainspotting" to the disturbing creepiness of "28 Days Later" to the fanciful romanticism of "Slumdog Millionaire," director Danny Boyle has made kinetic films that really connect to the viewer at a visceral level. Very much a visual stylist, Boyle uses every tool at his disposal--quick cut editing, frantic camera movement, fantasy sequences, jarring music--to really delve into the emotional core of whatever story he is telling. At first glance, "127 Hours" would seem an odd follow-up to the Oscar winning "Slumdog." Stripped down to the most primal level, "127 Hours" is one of the simplest, most straightforward narratives you're likely to encounter. And yet, through the technical bells and whistles and an earnest James Franco performance, you are immersed in a world of madness, desperation, perseverance, hope, struggle and ultimately survival. And there is no denying that this very matter-of-fact tale packs a punch!
Franco plays real-life adventurer Aron Ralston. In 2003, the reckless Ralston set off to explore Utah's Canyonlands National Park. No one knew where he is going and safety was secondary to fun in Ralston's blissed-out commune with nature. While negotiating a crevice, a boulder dislodged and trapped Ralston's arm stranding him in isolation within the earth. The film then documents Ralston's dilemma for the next 127 hours. With limited supplies and no mobility, Boyle makes the most of his claustrophobic environment by inviting us into Ralston's mind. And the primary success of "127 Hours" is that it really traps us within this confined space as well. We're there to the bitter end where survival and sacrifice meet at a crossroads.
In many ways, I wish people cold go into "127 Hours" with no expectations and forewarning of what is going to happen. I know that's naive. Ralston's tale is certainly public domain--reported on TV, the subject of books and news features. In fact, the entire film is marketed around the gruesome turning point in Ralston's struggle. This decisive act that spared Ralston's life is so harrowing and Boyle does not shy away from its unpleasantness. But the promise of this scene lingers over all that proceeds it. We are biding time for this ultimate act. We know what's going to happen and we know it's going to be graphic--everyone has told us so well in advance. But that sequence is so strong, it has come to define the entire movie. "127 Hours" has literally come to be described as "the movie where he......." (I, for my part, have resisted divulging this point--although you can read it everywhere else, including the product description and other reviews).
Franco does a great job making us root for Ralston. Impetuous and somewhat irresponsible, this thrill seeker didn't take the necessary precautions advisable. He thought he was immune to the dangers inherent in the mountain. But Franco makes him such a life force, you want him to be the victor over his poor decisions. His whip smart survival instinct keeps him alive and he never gives up. But as he faces mortality, he comes to understand his shortcomings and even faces visions of the future. His videotaped proclamations to his family are the emotional highpoint of "127 Hours." Franco is a physical actor and acquits himself well in the adventure scenes--but it is the immobile moments that showcase an interior to Franco that hasn't always been on full display in other films. Boyle takes full advantage of Franco and delivers one of the year's most effective human dramas. Stunning in its simplicity, "127 Hours" has an energy and vitality that make it stand out from the pack. KGHarris, 11/10.
Read Best Reviews of 127 Hours (2010) Here
After seeing the film in theatres twice, I decided to order (directly from Amazon) this excellent (in my opinion) film by Danny Boyle. While, as with any film, I mostly bought it for the main feature, I was also interested in the background of the film and was looking forward to watching the Special Features listed as part of the product description:
"Feature Commentary by Director/Co-Screenwriter Danny Boyle, Producer Christian Colson and Co-Screenwriter Simon Beaufoy
Deleted Scenes
Search & Rescue: Actual events that aided the search and rescue of Aron Ralston
127 Hours: An Extraordinary View A unique collaboration between the director and actor
Disc 2: Digital Copy"
However, the single disc I received only contained the commentary and deleted scenes. Neither of the featurettes were on the disc and there was no second disc containing the digital copy. After speaking with an Amazon representative and researching this a little bit, I discovered that these features are only a part of the Blu-Ray product. So, if you're into Blu-Ray (I am not, but that's a whole other story), then you will get everything you ordered. Unfortunately, the DVD comes up short, at least based on Amazon's description of it. Needless to say, I was a bit disappointed with the product I received.
Want 127 Hours (2010) Discount?
In 2003 mountain-climber Aron Ralston went on a hiking trip in a desolate part of Utah without telling anyone where he was going. He became trapped at the bottom of a canyon when a boulder dislodged and pinned his right arm to a wall. Over the course of five days with little water, less food, and no hope of being found, Aron made a video diary documenting his ordeal while trying to sustain by any means necessary (including drinking his own urine). Eventually, in a moment of desperation, Aron was forced to amputate his arm with a dull knife in order to escape. Ralston is obviously a brave human being, who was faced with a dilemma in which many people would've chosen death. His act is a triumph of human determination and willpower and his story is brought to life by Oscar-winning director Danny Boyle. 127 Hours is widely considered one of the best films of 2010 and recently received six Oscar nominations, including Best Picture. While complaints have been aimed at Aron's character (some people see his decision to not tell anyone where he was going "stupid), the use of dream sequences/surreal imagery, and Boyle's hyperkinetic style; I found no issue with these aspects of the film. In fact, I've been so impressed by this film the two times I've seen it I can hardly find a negative thing to say about it.
Boyle and his co-writer Simon Beaufoy (the Oscar-winning scribe behind Boyle's previous film Slumdog Millionaire) stay faithful to Aron's ordeal and over the course of a riveting 90 minutes, Boyle shows us how powerful the will to survive can be. The success of the film hinges on the dynamite portrayal of Aron by James Franco. The film spends the first 15 minutes establishing Aron's thrill-seeking personality; his drive to Blue John Canyon in Utah, his encounter with two girls (Amber Tamblyn and Kate Mara), and eventually the moment where he found himself in an unimaginable situation. From here, it's a one-man show for Franco. Aron has a watch, a video camera, a CD player, headphones, a flashlight, a rope and pulley, but almost no food and little water. Franco leads us through Aron's initial attempts to escape, his quiet acceptance of his fate, and his refusal to simply wait for death. Knowing the ending doesn't make the film any less suspenseful and the proceedings are nothing short of riveting.
Boyle tells this story in just 90 minutes, a perfect running-time that neither drags it out nor rushes it. In the hands of another director this could have been a snooze-fest, but Boyle has crafted a film that creates tension by perfectly capturing the claustrophobia of Aron's ordeal. While dream sequences/hallucinations are used, they don't clutter the story needlessly. They are necessary to establish Aron's personality and further the themes that Boyle and Beaufoy are trying to convey with their interpretation of Aron's story. It's not these images or his visual pizzazz that Boyle uses to carry the story, but his willingness to stay with Aron and allow James Franco to lead the audience through the story with his show-stopping performance.
The success of the film rests on Franco's shoulder and I couldn't spot the slightest misstep in his performance. Franco has to be interesting enough to hold your attention for over an hour, as well as making his character's journey believable. Through body language and tone of voice, Franco makes you believe you're watching an optimistic man slowly relinquish all hope before making one final decision in an attempt to save his own life. This is not a typical Oscar-bait performance, but a nuanced performance built on much subtlety. Spending the bulk of the film in a small space without the use of his right arm, Franco brings the audience right into that canyon with him. When the climactic scene arrives, you believe that Aron has reached this point of desperation. Had Franco made the smallest mistake in his performance, it could've brought the whole film down. I believe James Franco would win the Academy Award if not for Colin Firth as he delivers one of the most riveting and truly impressive screen performances of 2010.
One can't discuss this film without mentioning the climax, where Aron must finally take his fate into his own hands and amputate his arm. The scene is both realistic and horrifying, even more when one takes into account that this actually occurred. Rarely does a scene make me wince and recoil the way this scene did. It's brilliantly shot, acted, edited, and executed; graphic, but Boyle only shows as much as necessary relying on haunting sound effects and Franco to convey what's happening. It's a powerful, unforgettable scene.
127 Hours is an unforgettable experience that works on so many different levels. It's entertaining, exciting, intense, brilliant, and ultimately moving; a triumphant piece of filmmaking. It's much better than Boyle's Best Picture-winning Slumdog Millionaire (a film which has been widely forgotten) and is undoubtedly one of the best films of 2010. Having seen it twice now, it's still as suspenseful and powerful as it was the first time I watched it. While subsequent viewings and time may show some imperfections, it will remain the most intense movie-going experience I had in 2010.
GRADE: A
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"I don't like the corked wine", Pascal said. In the movie it is losely translated as "I don't like the fancy wine" which is not quite the same. This sentence summarizes this movie. The pure mentality of the French villager "à la campagne". He prefers his own wine, (they make and cork their own wine from their own vineyards). He doesn't want to buy somebody else's wine. He doesn't want to be like "les Parisiens". He has contempt for the Parisians. He doesn't want to be part of the city "elite". He wants to live peacefully in the countryside with his family, his rules, and his routine. "Vous savez les impôts moi, on en a marre..."
