I Now Walk..."Into the Wild."

BACKGROUND

During the course of this movie, I paused to go get something from the refrigerator--but then it occurred to me how odd that was. I had just watched a man shoot and gut a moose, in the Alaskan wild- covered in blood-and now I was staring at the slightly rare meat of a roast beef sandwich from a birthday party I'd earlier attended; I was seriously considering becoming a vegetarian at this point. I was at the beginning of what I suspect will be an extended "rethinking" and questioning of the many conventional aspects of my life. To say that the experience was "surreal" is more than a slight understatement. And after watching the dvd extras of this real-life-based story, I was on the verge of tears.

PLOT

Christopher McCandless was seemingly at the prime of his young life-a student-athlete, he'd just graduated from Emory and had the resources to pay for Harvard Law outright-instead, he donates his money to charity, hits the open road, and sets out on an adventure to measure himself in Alaska. He's driven by a "strict, moral code"--molded by his parents' storied, violent relationship, and the absolute internalization of a secret about them that tortures him. The audience follows and, from his point-of-view, relives an epic adventure--a once-in-a-lifetime opportunity of chance and fate.

ACTING

The character development and raw acting, combined with the technical excellence and great directing by Penn, create a masterpiece that would seem to be underserved by simply stating "the acting was "great." The characters seem so genuine and real, that you never really get the impression that you're watching a movie--especially in retrospect. Hirsch virtually "becomes" McCandless, with a tender, sensitive endearing style that removes all doubt from the viewers' hearts and minds. He lost 40 pounds on a strict diet during the 8 months of shooting, and when I saw the gaunt Emile, I said to myself, "Man, the make-up artists really went the extra mile here..!" But that Emile was committed enough to lose about a third of his body weight to accurately portray McCandless--well, that shows you how "on-board" the whole cast (seamless integration!) and crew were; one comes to relate to each, larger-than-life character.

Marcia Gay Harden and William Hurt coalesce with such intensity, as McCandless's parents, that Jena Malone (the "daughter") said, "The first time we sat down at that table, we had been a family for 15 years--they had really done their homework!" No detail was spared in the development of even brief, supporting actors (one played himself, and extras at a concert in the desert were the regular Saturday night crowd). Catherine Keener was peerless in her role, as half of a hippie couple that befriended McCandless--very warm, sensitive and solid; she wasn't acting. The other half of that couple was portrayed by Brian Dierker- the kayaking consultant for the film-who appeared to be a veteran actor in this critical, difficult-to-fill role (in his first appearance), in which he might easily have been mistaken to've been Keener's real-life beau. And Hol Holbrook was just amazing as an older friend to Hirsch--a grandfatherly figure, and my choice for a best supporting actor award (and Oscar's choice, as well)! Everyone just seemed to be really "on-board" for this production--almost as if you could feel the family's deep involvement.

DIRECTING

If the accusations of Sean Penn "Hollywoodifying" the story is true, then he operated at the highest echelons--taking charge and refusing to consider anyone but Emile for McCandless' role, due to his physicality and where he was in life. His attention to the smallest details are very evident, as every aspect of the film-from his choice of top-rate camera operator, Eric Gautier, of Motorcycle Diaries fame, for critical hand-held work, and insistence on Eddie Veder for the score-is top-notch. And waiting 10 years for the family's permission resulted in their extensive help, and was a very responsible thing to do. The pacing was OK, just a little long--it's hard to imagine it being any shorter, though, and it's helped along by the ever-present background music. Penn did much of the camerawork himself--and had to reluctantly oversee the whittling down of over 1 million feet of film, for which Jay Cassidy was Oscar-nominated). Grade: A .

CINEMATOGRAPHY

Eric Gautier was just a "Picasso" in this department. We really see America-wide views of the sweeping Alaskan wilderness, the Colorado River, and many other locales-in all it's grandeur, as well as close-up shots, which were important to draw attention to the details of the few items which McCandless carried. It elicited gasps, and oohs, and ahhhs--even my toddler was mesmerized, frequently saying,"I want to go there! I want to do that" (she did change her mind about wanting to go kayaking, though--thankfully)! We really experienced an adventure--sweeping, panaromic shots and point-of-view work that put us in the "seat" of the actors' pants. Grade: A.

SOUND (Dolby Digital Plus, 5.1-English, Spanish, French; subtitled)

It was said that they "broke a lot of rules" in making this film, and this is especially true of the sound. Live, unretouched sounds were principally used-the stark sound of vehicles passing over a bridge as McCandless angled for a "ride," as well as the sounds of nature-with few added, and to technically dazzling effect. Penn even had a guy sprung from jail to do a concert, during the course of this film! And the score is hauntingly beautiful, anchored by original work by Eddie Veder (for which he won a Golden Globe, for "Guaranteed," and multiple nominations, including an Oscar). The film also won other sound-related awards and nominations. Grade: A.

What Would Shakespeare Say?

"The 'apple' of his eye, indeed!
It appears Romeo survived the 'fatal one;'
And wishes to chance the slings and arrows of the natural sort;
That's the boy I seed.

(Ole Willie actually coined yet another word--"seed," past tense of see/synonymous to "seen." Southerners thought they patented the word, but they just weren't read-up enough)! Guess they had to repeat history...

TRIVIA

* Thirty filming locations were used, including Catalina Island (CA). Hirsch said they made a t-shirt with these locations, and it looked like a concert tour.

* They used an exact replica of the actual bus, which was painstakingly prepared--even though the real one was available.

* The role of Jim Gallien, the Alaskan who gave Chris the rubber boots in the opening scene, is played by the real Jim Gallien.

* The moose shot and killed by McCandless was actually roadkill found on the Alaskan highway.

* The book's author, Jon Krakauer, said he had set out on a similar journey (to Alaska), as a young man, during which he'd almost died several times. He felt that he was also explaining himself to the world.

AWARDS

Into the Wild was nominated for 2 Oscars, had 10 other wins, and an additional 33 nominations.



****SPOILERS!****

FAVORITE QUOTES

In response to a park ranger's reply that there was a 12-year waiting list to get a permit to paddle down the Colorado River, unless he paid for a guided tour, Hirsch says,(incredulously) "Twelve years!?" (now more seriously)"Twelve years--to paddle down a river?

An apparent entry into McCandless' diary, and probably a famous quote, spoken by Hirsch--

"The sea's only gifts are harsh blows, and occasionally the chance to feel strong. Now I don't know much about the sea, but I do know that that's the way it is here. And I also know how important it is in life-not necessarily to be strong-but to feel strong. To measure yourself at least once. To find yourself at least once in the most ancient of human conditions. Facing the blind death stone alone, with nothing to help you but your hands and your own head."

PERSONAL COMMENTARY ****SPOILERS!****

While perusing a message forum (elsewhere), I encountered an overwhelming sentiment that McCandless was really unwise (not the exact term used)-even unintelligent-and I took offense to this seeming irrreverence to the dead, as well as the suggestion that he was arrogant and self-centered for not letting his family know where he was, as well as thinking that he could survive in the wild, with (apparently) insufficient training.

I felt that these posters were missing the point, and confusing the film with the actual events (McCandless was portrayed as anything but selfish and arrogant in this film--I would only go so far as to say he was fairly naive). He'd adopted a particular philosophy in life, shaped by the extensive abuse he'd suffered, and chose a path. In the execution of his plan-rather than hurt anyone-he formed deep, mutual human relationships, and hurt no one. In my opinion, that's perfectly acceptable.

On reflection, I think that that particular reaction is very American/pop culture-centric, and definitely devoid of any enlightened aspect; other cultures-especially Asian ones, and possibly, Native American-would've been more respectful of his choices. Those same people probably think killing oneself out of honor is crazy (as in the ancient Samurai tradition)--what, then, do they make of the biblical Abraham's decision to sacrifice his son, as well as the son's acceptance?

It's clear to me that Christopher McCandless was operating from a place of enlightenment arising from, both--mental anguish arising from long-standing abuse, and the enlightenment permitted by his voracious readings. In my opinion, he was running from the life his parents expected him to have, which was built on a bed of lies--everything that led to his existence was not of moral soundness. To cope, he developed his strict moral code, and this validated his existence, allowing him to feel vindicated from his parents' sins. To complete this liberation, he couldn't associate with anything that could continue to connect him with his parents' culture (especially money)-a bastion of middle-class expectations, including the "appearance of propriety"-which must have been an extreme burden.

In epochal "warrior" training, which really crosses all cultural boundaries, the mentality approaches that of disposing of all regard and concern for self. Highly-trained monks would commit hari-kiri without hesitation, or even any emotional response (let alone, the blink of an eye), at the mere order of a master--such is their self-discipline. And soldiers-including Americans-cannot become consumed with worry in the heat of battle. They must become so focused that fear or concern for self just does not enter into the equation--we have seen many instances of bravery in this context, and have no problem with it. The other point is this is the opposite of arrogance and vanity.

Many seem to not be able to form the connections here to understand where McCandless was operating from. One person even wrote "the point of the film was that McCandless was selfish," and another said,"He was arrogant to think that he could survive out there, just because he read a lot of books." Yet another posted that he was arrogant "because he told Holbrook's character that he would address the question of him adopting him as a grandson when he returned from Alaska"--I guess he was supposed to drop everything and formulate an answer to this, when that very well may've been a last-minute effort to get McCandless to change his mind (and it's not known whether this exchange actually occurred). I was relieved that another poster suggested that that may have been his polite way of saying "no." I learned to not take these types of posts very seriously, but I was very moved by the film at the time.

OTHER THOUGHTS ****SPOILERS!****

On the Acting...

You really feel the family's grief, as well as the dysfunctional relationship between the parents. The great care and concern of McCandless' sister is evident by the narration, which is delivered very quaintly and sentimentally. When the dad collapses at the end-even though you despise the arrogant, distant parent he was in the beginning-you feel like stepping into the screen, giving him a big hug, and actually forgiving him. That's how powerful this scene is. As a man who lost his family in a drunk-driving accident, Holbrook really projects the void which Hirsch naturally filled (and having grown up without a father, I really connected with this)--if ever there were 2 characters that magnetically drew each other together, these are them.
------------------------------------------------------------------------
End of Spoiler Section



CONCLUSION

Sean Penn's Into the Wild is a thought-provoking look into the story of Christopher McCandless--a young man who had an entire, promising conventional career and future ahead of him, yet chose to give it all up, in search of "truth," above all else. The film is technically excellent, all-around, with wonderful acting. It may be too deep for the overly-sentimental, but it will stay with you for a while.


To see what I did in the "wild," click HERE!

Here are a few of my fave reviews--

3 Simple Self-Defense Moves EVERY Woman Should Know!
Tom Muzila's new book-Mental Karate
How to Find Computer & Electronics Deals
2002 Buick Regal LS
Microsoft Vista Home Premium
Ahead Nero Ultra v.6 CD/DVD-burning software
Rubbermaid Soap-dispensing Dish Wand
Tomtom One 3rd ed. GPS
Whistler XTR-330 Radar Detector
Kenwood KDC-MP435U CD/MP3 Car Stereo





Recommended:
Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children up to Age 4