Written by: Danny Boyle and Simon Beaufoy (screenplay). Aron Ralston (book).
Starring: James Franco.
Release Date: November 5th, 2010.
Distributed by: Fox Searchlight Pictures.
Studio: Film4 Productions and HandMade Films.
Running Time: 94 Minutes.
Budget: $18 Million.
Gross Revenue: $25, 356, 549.
If The Social Network is about the poison that is Facebook and the modern era of online socialisation, then 127 Hours provides the antidote. James Franco plays a contemporary-- I wanna say metrosexual but not quite-- mountain climber that gets his arm pinned between a boulder and a rock wall. Of course the 127 hours of the title is the time he spends down in the canyon, quietly going insane before finally performing the infamous amputation that sets him free. All of this is based on the real life incident that happened to Aron Ralston, who gained a bucket load of media attention seven years ago for being that mountain climber guy that got stuck between a rock and cut off his own fucking arm. Look, this movie works on so many levels: It is simultaneously panic-attack inducing* and inspiring. It also provides the kind of subtle depth that will captivate ruminative audience members and dumb mother-fuckers alike.
No, this isn’t a garden variety ‘Man survives in the wilderness’ movie, catered only to fans of stupid TV shows like Man vs. Wild. It’s also a sophisticated commentary on the current popular culture environment, wherein everyone is a potential reality TV contestant, entitled to the fame and glory that comes with their fifteen minutes. Franco’s character achieves a metamorphosis that is not jarringly obvious or pretentious: From a self-absorbed (though extremely likeable) young man to a utilitarian agent with an almost Buddhist sense of appreciation for the people in his life, and life itself.
127 Hours opens with bright cinematography that is a refreshing change from the more muted, dark and sombre cinematography of the other Oscar nominees. The mountains of America, which were grey and depressing in True Grit, shine golden against the bright blue sky, and everything seems to be filled with such outrageous colour that you don’t know how anything bad could possibly happen. Franco’s character, Aron Ralston, is introduced and is such a cool guy that you immediately wish that he was your friend. Then the incident happens and Franco’s facial expression leaves you with such an immediate sense of isolation, that you do realise that he is probably completely fucked.
I guess we could talk about how well the film is made (and it is), but I’m trying to wrap these little reviews of mine up in five hundred words or less, so I want to talk about the dominant theme of the movie, specifically how it contrasts with the themes of The Social Network. There is such an emphasis on popular culture in this movie, that you can’t help but think that some social commentary is going on. When Aron gets thirsty, Boyle has cut in some shots of Coca Cola commercials where glistening glass Coke bottles pour the sparkling liquid into cups. I’m not sure whether or not this was product placement, but it works well regardless. You get the sense that Franco’s Aron is very much a child of consumer capitalism. This coupled with the fact that Aron selfishly ignores his mother’s phone call in the beginning of the film, and seems to be quite upset that he did so, points to this idea that if Aron wasn’t so deeply ingrained with a false sense of heroism (probably imbibed through Hollywood movies), he would have avoided this scenario.
When Aron is forced to deal with a surivial situation, he is also forced to mature and realise that he is far more dependent on other people than Coke commercials and blockbuster films might have led him to believe. The Aron that emerges from the canyon at the end of the film-- sans arm-- is a much more appreciative Aron; one that would never slag off an ex-girlfriend on the internet or liken females to barnyard animals.
When Aron is forced to deal with a surivial situation, he is also forced to mature and realise that he is far more dependent on other people than Coke commercials and blockbuster films might have led him to believe. The Aron that emerges from the canyon at the end of the film-- sans arm-- is a much more appreciative Aron; one that would never slag off an ex-girlfriend on the internet or liken females to barnyard animals.
I really liked this one.
Five Stars:
* During the second screen of 127 Hours at the Telluride Film Festival, an audience member had to leave the cinema due to a panic attack. Apparently the amputation scene was a little too much for him.
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