127 Hours (Danny Boyle, 2011)

Between a rock and a hard place is Aron Ralston, protagonist of Danny Boyle’s self proclaimed ‘action movie in which the hero doesn’t move.’ James Franco plays Ralston who, whilst adventuring, gets trapped in a canyon by a fallen rock. 127 hours later, he cuts his own arm off to get free. It’s a brave and simple premise, and kudos to Boyle who adds yet another original and un-classifiable piece to his wildly varied filmography.

It is a strange film, devoid of any true narrative tension but full of anticipation. The ending is true catharsis, an overwhelming and moving experience; one of the most powerful 15 minutes of cinema I have witnessed. However the journey there seems to lack something.

I have seen three films set in tight spaces over the last few months. Devil which is set almost completely in a lift and is a simple and medley enjoyable b-movie. Buried which was a superior and claustrophobic thriller, and now this. 127 hours is an amazing true story and a cinematic experience but is a little too tricksy for its own good.

The film cannot be reviewed without commenting on James Franco’s performance which is nothing short of astonishing. He shows Ralston’s fear without resorting to hysterics and anguish without invoking melodrama. It is naturalistic and truly involving. The film beings with a self assured Ralston driving to Blue John canyon, and he appears to be little more than an adrenaline junky fixated with Jack-Ass style stunts. However, once he is stuck, and his thoughts flitter between his mother whom he has abandoned and an ex-lover who he neglected we see some honest, raw and heartbreaking humanity.

However good Franco is, 127 hours is Boyle’s show and he doesn’t let the audience forget it. Unlike Buried, which kept the audience in a coffin for 80 taught minutes, Boyle flicks between flashbacks and wild flights of fantasy. The camera is never still and the shooting style constantly changes. At one point Ralston is the star and host of his own chat show, and then later he fantasises about his past intimacies in a steamy, stylised sequence. Boyle makes the camera the biggest character, often using close-ups and a shaky handheld approach that puts the audience right there. Whilst it is enjoyable, it detracts from the feeling of being stuck and taints a good proportion of the film.

However, it is arguable needed, as 127 hours isn’t merely the amount of time Ralston was down there, it is the amount of time it took him to finally accept what he had to do. As the camera shows us Ralston’s regrets and future fantasies, the need for his escape seems greater, he is no longer an adrenaline junky but a son, and a friend. He is someone who has something to live for, and he makes the ultimate sacrifice to regain his life.

Boyle thankfully shortens Ralston’s self amputation from the actual 49 minutes it took him to 3 and a half, but be warned, you’ll feel his pain. Franco’s excellent acting and the winch inducing sound effects makes it appear that you see more than you actually do but it is a truly visceral experience. Much has been made of audience members fainting and I believe that is because Boyle has made an almost transcendent sequence, in which the audience share his pain and his eventual relief. Don’t look away because the rewards are rich. As Ralstone leaves his rocky prison, you will be moved.

Verdict

This is a life affirming, powerful and moving experience which makes up for its flaws through an awesome and truly affecting ending.

****