Danny Boyle certainly knows how to put his audiences through the wringer. The reason a lot of his 'happy' endings have the effect they do, is because he knows how to make his audience work for it. Would Rentons declaration to 'choose life' at the end of 'Trainspotting' have been as sweet had we not witnessed the drug dens, the psychotic friends, and hopeless spiraling descent into drug abuse that we did. Would '28 Days Later' have had the same relief in its coda, without going through the loss and breakdown of society and humanity, had we not felt like we had been through it all with our heroes? Would 'Slumdog Millionaire' have been the feelgood film that it was, had we not had to endure child slavery and torture, in a crime ridden India before our two romantic leads could finally be reunited? When Boyle offers a happy ending in his films, not that they're common mind, it is based on his knowledge that the higher the trauma, the higher the catharsis. Put simply, we want the protagonist to pull through in a Danny Boyle film. And now, with '127 Hours', it is no better evidenced. Quite simply, as much a testament to Danny Boyles incredible film making, as it is to the unbelievable true story it is based on; it is the first film of 2011 to be seen here and it's a belter.
In 2003, mountain climber and reckless adventurer Aron Ralston (James Franco) went out hiking in the Blue John Canyon in Utah without telling either friends or family where he was going. Tragedy struck when Ralston accidentally dislodged a boulder in a small canyon, trapping his arm against the rock wall. Left alone and isolated with minimal chance of rescue or survival, Ralston is left to muse on his life, and the choices that led to this point. Now it may initially seem strange for a director as visually gifted and kinetic as Boyle is, to lend his eye to a completely static and lifeless location for the duration of the film. But that is exactly why none other than he could pull off a film like this with such visceral force. The film simply brims over with life, color and energy. While other directors might have played up the very small time limit Ralston had to extricate himself from his nightmare for tense and ultimately more shallow entertainment purposes, Boyle seems more concerned with the existential musings behind it all. As a result, the ordeal cuts that bit more deeper in the viewer, no pun intended. Yes, the ways and means Ralston tries to free himself are incredibly tough and hard to watch, but that is only because Boyle knows the release and absolution must be akin to something the real Ralston went through in order to achieve the desired results. Not that that makes it any easier to endure.
As Ralston, Franco gives the very best performance of his career so far. Spending much of the film on his own, he holds every ounce of our attention. His gift lies in the sheer range he has. Coming from his comedy roots and matinee idol good looks, he has portrayed very different characters across his career. A glance across his CV shows that while there have been attempts at blockbusters and classic leading man status, Francos best roles have been actually more character driven parts. A very solid co-starring role in 'Milk' showed his determination at being considered as a more serious actor, to go along with his more broader comedy output. Here he is a revelation and for once plays to all his strengths. Ralston was reckless bordering on arrogant. His sure positioning of himself as infallible was always going to be his downfall. When the boulder finally gets lodged in its position on top of Ralstons arm, his initial reaction is one of disbelief. That it would be this boulder rather than something altogether more grander that would trap him is unthinkable to him. He will not be beaten by something as insignificant as this. But beaten he is. His cocksure audacity and unflinching confidence soon gives away to anger, and then helplessness. It is only when Ralston can take responsibility for his actions that have led him here that it makes way to acceptance. The dawning when it happens, is just as significant to Ralston as it is the audience. We can't do everything on our own. We need friends and family. We need other people in our life. Otherwise everyday is just surviving. Ralston doesn't want to just survive anymore, he wants to live. The results of this are incredibly emotional for the viewer. Filtered though Franco's fantastic performance, we put ourselves in his place - would we actually be able to do what Ralston did? Of course Ralston was resourceful. Not many regular people would ever find themselves in the predicament that he did. Not that it should ever take Ralstons ordeal to learn what he learned. Through his daydreams and delirious visions, we should always remember to never take anything in life for granted. If anything, the film should be a reminder of that in all of us.
Boyle films the tragic consequences with his typical flair. Events never once become dull or boring. The resolution, when it finally comes is as unbearable as it is unflinching. When it happens, there is almost a sense of relief that this man is finally taking his own survival into his hands, no matter how grotesque to watch it may be. Reports of people fainting at the crucial point on initial screenings are so far unfounded. Not that it would be hard to imagine; Boyle's location is realistically and astutely detailed, despite half of its filming in a studio. The build up is so well defined and depicted that the solution, when it happens is far harder to take than most grand guignol films could ever muster up. And when it's over we are left, not with horror, but with a sense of uplifting fervor. Gain, not loss is what registers. And that is testament to Boyles skill as a filmaker. 2011 has just begun and so far Boyle has delivered one of the sure to be year greats.
Verdict: 84%
Aron Ralstons five day ordeal is given the Danny Boyle treatment. His high benchmark of stunningly edited sequences and soundtracked to a glorious score is again masterfully maintained. As gut wrenching and hard to stomach as it is emotional, the final feeling left with the viewer is in fact, one of incredible elation. James Franco gives a triumphant performance and the film deserves all of its awards and adulation sure to be coming its way.
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