If there was ever a story that needed to be told, it's this one.

Rating: 9/10 (11 February 2011)

The phrase 'remarkably true story' gets thrown around a lot these days. Sure, some of the greatest films of all time are shaped by actual events (see: Goodfellas, Dog Day Afternoon and Cool Runnings), as are a handful of contemporary Best Picture hopefuls in The King's Speech, The Social Network and 127 Hours. But the latter is perhaps the only one that really has the ability to connect with the viewer on such an emotional level. This film presents to us an amazing story of survival and human will in the face of certain death, expertly delivered by director Danny Boyle and Best Actor nominee James Franco.
I make the point to not divulge too many plot details in my reviews, but I feel an exception can be made in this case, since the story is so well known. Aron Ralston is a mountain climber intent on journeying through the treacherous Blue John Canyon in Utah. He meets two girls along the way, but continues on his own. He slips while climbing down a narrow rock face, causing a small avalanche in which a boulder traps him between, literally, a rock and a hard place. With his food and water supply running low, and his hallucinations becoming more intense, Aron realises the only way to free himself is to hack off his own arm, after which he ventures out of the canyon and is rescued just before bleeding to death.
Danny Boyle is a director with great skill in exposing his audience to the very ends of the Earth. Be it the gloomy backstreets of Trainspotting, or the vibrant Indian flavour of Slumdog Millionaire, he always ensures the setting dosen't just fulfil its role, but stands out as a piece of art. 127 Hours is no different, as vast, sweeping views of the desert and Steadycam shots inside the labyrinth that is Blue John Canyon contribute handsomely to a foreboding sense of isolation and claustrophobia.
In contrast, when Aron becomes trapped underground, it is the editing that takes over the cinematography as the primary means of fleshing out the film. Flashbacks and quick cuts allow the viewer to get inside Aron's mindset at any given point, and I found it an accurate portrayal of how, even in times of crisis and great panic, the mind can wander and emotions can change instantly. A standout scene, and a great example of what I'm trying to explain, occurs when Aron pretends he is a guest on a comedic talk show, jokingly explaining how he is about to die, only minutes after recalling how desperately he wants to see his family.
If you ignore the other (very minor) roles played by the rest of his unknown cast, James Franco is the only actor in this movie, and it goes without saying that the film would collapse if his performance lacked conviction. Luckily, he puts immense effort into a screenplay the real Aron Ralston called '99.9% accurate'. His turn is unlikely to earn him Best Actor, but he certainly stamps his authority on his own film more than any other nominees do in their respective films.
Of course, I couldn't review 127 Hours without giving my opinion on 'that' scene, which is alluded to in the beginning with some excellent use of foreshadowing, by the way. Is it gruesome? I wouldn't dispute that. It is glorified, existing only to disgust? Absolutely not. I couldn't take my eyes of the screen, only because I was keen to see for myself the amount of realism injected into such an intense moment. And believe me, it is intense. Personally, not sickening. But if in doubt, I'd say proceed with caution.
Ultimately, though, it's best not to dwell on this single scene, but appreciate the entire film addressing the idea that life is not about what is lost through adversity, but what is gained through determination. What a shame that my three favourite films this year have, collectively, slim-to-nil chance of winning the top prize.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*