Let’s brainstorm awful ideas for movies. The sort of film that should never be made or would only be attempted by foolhardy, insufferable idiots. Mmm let’s see. It’s actually harder than you might think to think of truly terrible premises. First of all I thought of a bed ridden man who likes to photograph boxes or gravel or picture frames (not the images just the frames), or something unbelievably dull. But make him a bed ridden man and he suddenly has an element of sympathy and interest.
An ordinary man with a fascination for gravel or sand then, who likes to talk about this obsession to the few people in his life, other boring folk perhaps or patronising do-gooders. Actually scratch that. Maybe just a saucy account of a weekend away for Tony and Cherie, a blow-by-blow description of dinner at Gillian Mckeith’s or X Factor runner-up Ray Quinn’s struggle to publish a novel. In fact that one sounds quite funny.
Hang on I’ve got it. Take one guy; make him a bit of an arrogant, irritating prick. Then have him set off on some mad, impulsive trip without any means of contacting anyone. Make sure he doesn’t tell anyone where he’s going; we need to keep human contact to an absolute minimum. When he’s penetrated suitably deep into the wilderness, way, way beyond civilisation or chance of rescue, trap him somehow. Like throw him down a canyon and have him wedged by a rock so he can’t move. Then pick a random amount of time, something silly but memorable like 89 or 127 hours, and just leave him stuck there, barely moving. That should be truly awful.
Imagine pitching this idea to producers. Not a chance of getting your dream realised. Unless maybe you’re Danny Boyle and the industry hangs on your every move since Slumdog Millionaire. And also let’s just say it’s a true story to properly get their juices flowing, their minds racing ahead in time to the prospect of awards success, emotional crowds gushing praise in theatres everywhere. Watching someone motionless and isolated shouldn’t work, and it couldn’t be further away from the vivid romp through India that was Slumdog, but somehow Boyle makes it not just tolerable but inspiring and riveting.
It certainly helps that the film itself is 94 minutes as opposed to the real time, 127 hours, long. It also helps that Boyle’s playful and distinctive direction grabs you from the very first scene. Knowing the claustrophobia that’s to come, Boyle peppers the opening to the film with visual interest and movement. Watching climber Aaron Ralston get ready is a marvellous experience through Boyle’s eyes.
The screen splits and divides into two or three, with intricate close ups of bottles filling with water and hands rooting around in drawers and shelves. These loving details are then impressively contrasted, first with an atmospheric night drive and then a frenetic bike ride across a bright orange, stunning Utah landscape. This scenery, with its back drop of sheer blue sky, is properly showcased with gorgeous wide shots. At the same time Ralston’s speeding movement is conveyed with fast editing and camerawork. When he comes off his bike to energetic music your adrenalin is really pumping.
The soundtrack to 127 Hours is terrifically good. A.R. Rahman, who worked with Boyle on Slumdog, really excels here with a difficult task. The opening and endings to the film are particularly wonderfully scored. I was not a fan of Slumdog’s score, or indeed the film itself, so it’s refreshing to see Boyle doing something completely different despite the easy options no doubt available to him now as an Oscar winner. He clearly cares about this incredible true story and set about bringing it faithfully to life. He couldn’t have done this half as well without the excellent James Franco.
Franco plays thrill seeking climber Ralston as both a slightly annoying arse and a clever, likeable everyman. In the early scenes he meets two female climbers and effortlessly impresses them with his knowledge of the area and daring sense of adventure. His youthful, flirty antics with them in startling, deep blue waters give the ordeal that follows far greater emotional resonance. Franco portrays the panic of being trapped superbly, as well as the calmer more reasoned moments. He’s completely believable and does well without other actors to spark off of to continually engage us.
The story also works so well due to flashbacks of Ralston’s life, showing his regrets and key memories of loved ones. These segments humanise Ralston; he isn’t just a physical machine stuffed with practical climbing knowledge, seeking an adrenalin fix. He’s made mistakes like all of us. And Boyle’s script and direction leaves the flashbacks realistically and suitably vague. In a starving, dying of thirst state delusions are bound to be half-baked. More importantly the gaps can be filled by the audience; everyone longs for their own friends and special, loved people in their lives, as Ralston goes through the levels of despair.
And passing through these levels he arrives eventually at resignation. Ever since the boulder trapped his arm he has quietly known what he’ll have to do, what he’ll have to endure and sacrifice, to escape back to his life. Incidentally the moment when the boulder falls and snares him is the only part of the film that feels less than real, as the rock bounces for a moment like the polystyrene prop it probably was. Apart from this the close, stuffy, handheld camerawork injects genuine realism alongside the fantasies.
And the moment when he cuts through his arm, the single headline grabbing fact either attracting or repelling viewers, was believable. What was refreshing was that on a number of occasions you think he’s going to, but doesn’t. The film keeps you on its toes, waiting for the pivotal moment, and when it comes it shocks you and continues to shock as he battles through the unimaginable pain.
Whilst the gore shouldn’t disappoint those seeking it, the blood and horror wasn’t as bad as I was expecting it to be. I’m normally quite prone to sickness at such things but I barely looked away. It’s undoubtedly horrific but unavoidably compelling too. And crucially 127 Hours isn’t about a guy cutting his arm off. It also doesn’t have any other overriding, commanding themes and messages. The beauty of the story is that it can be about whatever you want. And whatever you make it about in your own head, the eventual rescue is as uplifting as cinema can be.
I’ve seen six of the ten films on the Oscar Best Picture list now. Of these six, 127 Hours is only better than Inception in my opinion. Black Swan I enjoyed the most and The King’s Speech, The Social Network and Toy Story 3 are all better films in their own ways. However the true story behind 127 Hours is more remarkable than any of these tales, despite the fact its circumstances inevitably limit the scope and entertainment value of the film. Some critics have unfairly suggested 127 Hours only made it onto the shortlist because Boyle is a past winner. It’s a film that excellently and faithfully brings to life an amazing true story, with directorial flourish. And at times, thanks to Franco’s charm, there are surprising laughs to get you through. It doesn’t deserve to win Best Picture, but it more than warrants its nomination.
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David Cameron’s speech to the Conservative party conference in Birmingham yesterday was an accomplished rallying cry and an impassioned response to his critics. Of all the party leader’s speeches during this conference season there is no doubt that Cameron’s was the most polished and technically the best. He stood out as a Prime Minister and appeared like a leader, completing a transformation from head of the Opposition to the most experienced politician in Britain. He sought to counter Ed Miliband’s claim that Labour were the optimists now with his own stirring note of idealism. However in doing so he once again missed an opportunity to spell out his message clearly to the country, opting instead for reams of empty rhetoric that made excellent sound bites but often contradicted each other.
Most strikingly Cameron again tried to explain what he meant by the “Big Society” and again failed catastrophically to render it a reality accessible to voters. In his haste to counter the new Labour leader’s charge of pessimism, Cameron swung dangerously into the realms of wild over optimism. In the speech he simultaneously claimed that his coalition government was both realistic about what it could achieve in power and optimistic about what government could achieve in partnership with the people. In principle this all sounds lovely of course. Of course government should concede it cannot solve everything by decree and ask cooperation from its people, whilst also setting high standards of achievement. In reality though Cameron has no credible claim to the titles of both realist and optimist. He must choose one or the other to define his leadership. He let the tone of his speech tip into an unrealistic optimism, probably due to that desire to stop the Labour revolution in its tracks. He blasted the “cynics” who would pour scorn on his “Big Society” rhetoric and indeed it was a clever ploy from the Prime Minister to call on the people to come to the aid of the nation, with grand, fluffy, empty rhetoric, and offer nothing concrete. Those who criticise Cameron’s speech for its lack of substance will be easily labelled as non-believers, as statists who do not trust the brilliance of the British people. Cameron therefore tried to lay a trap for opponents of the “Big Society”. But there is a reason I continue to put the “Big Society” in inverted commas, and it’s the same reason voters and indeed Conservatives distrust the policy; good idea in principle, but it’ll never work in practice.
Again Cameron failed to articulate what the “Big Society” would actually mean in terms of government policy, besides him praising voluntary organisations in speeches and urging everyone to go out and get involved. Rhetoric and the lifting of restrictions alone will not drastically change people’s behaviour and therefore the country. The kind of society Cameron claims to want, one that rewards contribution and discourages excessive consumption, simply cannot happen without at least some prompting by central government. It is also confusing that Cameron should place such an emphasis on contribution and consumption, areas that would be better suited to alterations in tax policy, when his government has vowed to tackle the deficit predominantly through spending cuts. On the other hand Cameron did make it clear he wanted a state that was better run, more powerful and within the means of government. Again this is sensible in principle, but shockingly for a government claiming to be the “greenest ever”, Cameron simply refused to utter the word “sustainability”.
To have made sustainability a key theme of the speech would have given it greater direction and purpose and clarity. It should also be made a more important plank of his government’s policy agenda. At the moment it is an area that lies wide open for Ed Miliband’s “new generation” to seize upon and exploit. Cameron’s deficit slashing philosophy, he was at pains to point out, was not simply ideological but a necessity. However the public is already convinced that the cuts, whichever party implements them, will be in some way driven by that party’s ideology. An ideology containing the idea of sustainability would be far easier to justify than the abstract notion of the “Big Society”.
Cameron also hinted at a promise that after the pain there will be rewards. He should have placed much greater emphasis on his long term goals and how action now would lead to sustainable rewards in future, but he was perhaps deterred by the short term nature of the coalition. He was also perhaps put off of any mention of “sustainability” because a truly sustainable recovery, that really could end “boom and bust” as Gordon Brown once rashly promised, would require substantial investment now to ensure growth, energy supplies and long lasting jobs. Cameron is simply not prepared to take the gambles required of the “greenest government ever”. His brush with the backlash of child benefits cuts this week has reinforced to him that it is difficult to justify changes of policy, particularly from those promised in manifestos, to the media and electorate. He will therefore not be seen to spend now, even if that spending is necessary because of what he has previously said. So despite the obvious passion and idealism of his speech, his actions as Prime Minister suggest that Cameron is happy for the “Big Society” to remain a vague enigma, which will inspire some, baffle many and prove largely immune to damaging criticism, as critics will remain unsure as to what it is they object to. And if the Prime Minister was truly serious about lifting the burden of debt from our children then he would also use the shield of coalition to act in the “national interest” now to avert a legacy of unalterable climate change for them to inherit.
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