442) 127 HOURS
(2010 dir. Danny Boyle) Date Seen: November 13 2010
I don't know if Boyle was the best director to adapt this material. His energetic style almost feels at complete odds with the remote desert locale. I mean I wasn't expecting him to craft it the way Bela Tarr or Herzog would - after all, he's Danny Boyle - an a.d.d. experimental stylist if ever there was one. He's not gonna make GERRY for fuck sake. But I was still surprised he injected this particular story with his usual kinetic flair. I'm sure his reasoning for this is that he was trying to place the audience inside the mind of the carefree Aron Ralston, but it has a tendency to render parts of 127 HOURS ridiculous, like some adrenalized Nike commercial. Yet a few parts remain exhilarating because of that very thing...
(2010 dir. Danny Boyle) Date Seen: November 13 2010
I don't know if Boyle was the best director to adapt this material. His energetic style almost feels at complete odds with the remote desert locale. I mean I wasn't expecting him to craft it the way Bela Tarr or Herzog would - after all, he's Danny Boyle - an a.d.d. experimental stylist if ever there was one. He's not gonna make GERRY for fuck sake. But I was still surprised he injected this particular story with his usual kinetic flair. I'm sure his reasoning for this is that he was trying to place the audience inside the mind of the carefree Aron Ralston, but it has a tendency to render parts of 127 HOURS ridiculous, like some adrenalized Nike commercial. Yet a few parts remain exhilarating because of that very thing...
No one should deny Boyle his status as a master of image and sound, and I do admire his ambition here, I just wish he had approached this one formally in a way that felt less diametrically opposed with the memoir's contemplative spirit (Sort of how Kevin Macdonald treated TOUCHING THE VOID in '04). You'd think Boyle would want to slow things down coming off a stroboscopic fairytale like SLUMDOG MILLIONAIRE.
I thought the film would surely take on a new tone once the protagonist finally became trapped in his infamous predicament, but Boyle just found new ways to distract from Ralston's dire situation. Gut-wrenchingly tense moments are too often broken up by choppy edits and blaring musical selections. A.R. Rahman's score feels needlessly intrusive at times. Did American filmmakers really learn nothing from the Coen Brothers' nerve-wracking use of silence on NO COUNTRY FOR OLD MEN? Having said that though, I did really love the climactic use of Sigur Rós' beautifully moving "Festival."
The one unquestionably good thing about the whole film is James Franco's portrayal of Aron. Great year for him as a character actor, first with HOWL and now this. Even if his work here is a bit hampered by his director's in-your-face style. **BTW Edgar Ramirez in CARLOS and Joaquin Phoenix in I'M STILL HERE are still the heavyweight champions of acting for 2010
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