David O'ConnellInto the Wild
January 9th 2009 02:21
Director Sean Penn’s poetic retelling of the noble journey of Chris McCandless relies a lot on the faith of its audience. McCandless (Emile Hirsch) was a university graduate who completed his studies merely to fulfil a conventional path - to end a chapter of his life which had become increasingly meaningless to him. He then shrugged off the conformities of a society he deplored to live alone, traveling in whichever direction the wind blew him, but ending in the stark and confining wilderness of Alaska.
Donating his savings account to charity, burning his cash and adopting the unlikely moniker of ‘Alexander Supertramp’, McCandless cut all ties with his parents and sister, leaving behind not a clue as to where his calling might take him.
Assuming this new identity, he simply sought to embrace the transparency of living life without need or desire for material possessions and the complications of relationships, saving his sense of communion for nature and a much higher power.
Penn’s film is a testament to the courage of this young man’s will, his determination to make his everyday existence a proclaimation of his beliefs. Admittedly it does, at times, also feel as if he’s attributing McCandless the grace of a martyr, a man who sits above others in a purer state.
Pleading to the spiritual conflict in us all, he enwraps this tortured young man with an extended, though perhaps false, awareness of the universe - one defined more by its rugged and raw challenges and watched over by an all-encompassing God whose whims can affect the outcome of our lives at any time.
Penn’s brilliant direction certainly makes a persuasive case for healing in this acknowledgment of a higher power whilst employing the startlingly brilliant cinematography of Frenchman Eric Gautier, and the acoustic score of Michael Brook which is seamlessly supported by some decent original songs from Eddie Vedder.
The use of voiceover casts a dreamy, unnatural light over the journey of McCandless, but at the same time provides some of the most pointed revelations, probing into his psyche and examining the possible impetus powering his radical odyssey into the unknown.
I especially liked the narration of sister Carine (Jena Malone), who objectively relays the deteriorating circumstances back home in the wake of Chris’s strange and sudden absence, the ripple effect creates, and insights into the turbulence that has defined this family beneath its facade of normality, including the overbearing, abusive betrayal of trust by their parents, Walt (William Hurt) and Billie (Marcia Gay Harden), who still cling to each other in hatred, battering one another for answers that will never reveal themselves.
Penn’s screenplay, in adapting Jon Krakauer’s book, helps enrich the narrative with the interesting characters Alex meets on his travels. Especially noteworthy are Catherine Keener and Brian Dierker as former hippies whose relationship has weathered some brutal storms of its own, and Kristen Stewart as a singer and underage, potential love interest for Alex.
Best of all, there's Hal Holbrook as Ron Franz, a broken down old man whose own ties to the world have faded rather than been severed, and who sees the vestige of a possible surrogate son in Alex, a last remaining hope to carry his name onward beyond his imminent death. The pair forms an unlikely but immediate bond in their limited time together before Alex sets off with a promise to consider Mr. Franz’s heartbreaking proposal; their last scene is one of the best in the film and possibly the reason why Holbrook was nominated for an Oscar aged 82, the oldest ever to receive such an honour.
I liked Into the Wild a lot though I admit many might be put off by Penn's creative excesses which attempt to counteract some of the naturalism with evocative visual poetry, as well as the spiritual overtones which complete the sadly limited term of McCandless' understanding of the world's randomness.
It's an ultimately haunting film, and although perhaps hurt somewhat by its length, it effectively portrays the courage of one man’s convictions, interpreted as arrogant idealism in the guise of over-exuberance as they may be.
Donating his savings account to charity, burning his cash and adopting the unlikely moniker of ‘Alexander Supertramp’, McCandless cut all ties with his parents and sister, leaving behind not a clue as to where his calling might take him.
Assuming this new identity, he simply sought to embrace the transparency of living life without need or desire for material possessions and the complications of relationships, saving his sense of communion for nature and a much higher power.
Penn’s film is a testament to the courage of this young man’s will, his determination to make his everyday existence a proclaimation of his beliefs. Admittedly it does, at times, also feel as if he’s attributing McCandless the grace of a martyr, a man who sits above others in a purer state.
Pleading to the spiritual conflict in us all, he enwraps this tortured young man with an extended, though perhaps false, awareness of the universe - one defined more by its rugged and raw challenges and watched over by an all-encompassing God whose whims can affect the outcome of our lives at any time.
Penn’s brilliant direction certainly makes a persuasive case for healing in this acknowledgment of a higher power whilst employing the startlingly brilliant cinematography of Frenchman Eric Gautier, and the acoustic score of Michael Brook which is seamlessly supported by some decent original songs from Eddie Vedder.
The use of voiceover casts a dreamy, unnatural light over the journey of McCandless, but at the same time provides some of the most pointed revelations, probing into his psyche and examining the possible impetus powering his radical odyssey into the unknown.
I especially liked the narration of sister Carine (Jena Malone), who objectively relays the deteriorating circumstances back home in the wake of Chris’s strange and sudden absence, the ripple effect creates, and insights into the turbulence that has defined this family beneath its facade of normality, including the overbearing, abusive betrayal of trust by their parents, Walt (William Hurt) and Billie (Marcia Gay Harden), who still cling to each other in hatred, battering one another for answers that will never reveal themselves.
Chris/Alex (Emile Hirsch) with Tracy (Kristen Stewart)
Penn’s screenplay, in adapting Jon Krakauer’s book, helps enrich the narrative with the interesting characters Alex meets on his travels. Especially noteworthy are Catherine Keener and Brian Dierker as former hippies whose relationship has weathered some brutal storms of its own, and Kristen Stewart as a singer and underage, potential love interest for Alex.
Best of all, there's Hal Holbrook as Ron Franz, a broken down old man whose own ties to the world have faded rather than been severed, and who sees the vestige of a possible surrogate son in Alex, a last remaining hope to carry his name onward beyond his imminent death. The pair forms an unlikely but immediate bond in their limited time together before Alex sets off with a promise to consider Mr. Franz’s heartbreaking proposal; their last scene is one of the best in the film and possibly the reason why Holbrook was nominated for an Oscar aged 82, the oldest ever to receive such an honour.
Catherine Keener and Brian Dierker as hippies Jan and Rainey
I liked Into the Wild a lot though I admit many might be put off by Penn's creative excesses which attempt to counteract some of the naturalism with evocative visual poetry, as well as the spiritual overtones which complete the sadly limited term of McCandless' understanding of the world's randomness.
It's an ultimately haunting film, and although perhaps hurt somewhat by its length, it effectively portrays the courage of one man’s convictions, interpreted as arrogant idealism in the guise of over-exuberance as they may be.
The amazing Hal Holbrook as Mr. Franz
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Comment by MelGee
Comment by David O'Connell
Screen Fanatic
And the ending was very moving..........especially for a 'believer' like me!
Comment by Brenton
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Comment by Kevin 5
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the ending WAS surprising...
Comment by David O'Connell
Screen Fanatic
Yeah, it was based on a true story Kevin - like you I was expecting his journey to continue on for a long time! I haven't read the book which assembled the facts so I'm not sure how much poetic licence Penn has taken in adapting it for the screen. I'm going to try to get to it one day soon.
Comment by Wilson Pon
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Comment by David O'Connell
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Comment by Jason King
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A friend of mine bought Jon Krakauer’s book and went camping by himself on a secluded beach for a long weekend to read it. He then came back, watched the movie, resigned (I was his boss) and has set off travelling Oz. He worked the mines in WA plus a few other odd places and is now training to be a water cop in WA. The story was his inspiration to leave the Sydney life and discover himself.
While I loved the movie I was pissed it took one of my best staff!!
Jon Krakauer’s is an amazing author - his other books are just as good.
Great article!
Comment by David O'Connell
Screen Fanatic
I'll keep an eye out for some of Krakauer's book (and other work too), I'm interested in comparing the two. Have just read Perfume and will watch the film soon to do the same thing - only in reverse this time!!
Comment by Jason King
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I really want to read Perfume - the movie doesn't look that good, I played it for a while at work but never got to actually see it!
As for my friend - I was glad it was this book that inspired him and not something like The Basketball Diaries or Scarface.
Comment by Paul
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Comment by David O'Connell
Screen Fanatic
Thanks for the kind words Paul, glad to hear you liked the film as much as I did! Sean Penn is a very selective director but I think he's made some brilliant films, The Pledge being the best of them so far.
Stick fast to the urban dwellings Steve, Broadmeadows would reallly miss you - as would your Foxtel remote.
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