The Journey Away from Communism

Rating: 8/10 (23 January 2011)

Note: There probably won't be any spoilers, but I'm afraid to submit a review without clicking the box. I will mark any that come up.
Peter Weir is one of the great directors in recent history, having directed three absolute masterpieces ("Dead Poets Society" (USA 1989), "The Truman Show" (USA 1998), and "Gallipoli" (Australia 1981)) and a decent number of good films alongside them. His greatest strengths as a director have been his incredible facility with leading actors that has often lead to excellent performances from surprising performers and his ability to create a backdrop in seemingly all scenes that is realistic enough to accept and yet so perfectly controlled that it paints the picture for his camera. Both of those skills are on display in "The Way Back." The film's story, while dull-sounding in the abstract, is an interesting metaphor for many countries' (though Poland is the obvious example here) long journey away from authoritarian Communism toward individual freedom. *Spoilers* We see how Communism tore down the old religions and yet rather than its return, a new, western religion is attempting to take its place. We see how the definition of "freedom" becomes so weak that the characters consider the ability to die outside prison walls "freedom" in Siberia. We see how wandering through the tightly-controlled, dangerous, cold, ruthless terrain of one type of authoritarianism in Russia shares similarities with the hot, wild, dangerous, dry terrain of another in Mongolia. We see how it's a nearly-impossible final trek through dangerous mountains of doubt, asking for help repeatedly along the way that finally brings our heroes to the lush greens of freedom. *Spoilers Over* The acting is universally excellent, highlighted by Ed Harris, Jim Sturgess, and Colin Farrell. Harris has the only dynamic character, one who begins knowing only too well the value of hiding his emotions and slowly learns that he no longer needs his mask. His performance is nothing short of amazing. Sturgess, while not playing a very dynamic part, still has plenty to sink his teeth into and hits every right note. Farrell is a scene-stealer as a vicious-but-not-stupid true criminal who doesn't know how to operate free and knows it.
Perhaps the most memorable part of the film is the score. Burkhard von Dallwitz's score in this film is one of the best I've ever heard, with an impressive combination of variety and cohesiveness and absolutely pitch-perfect emotionality for every moment.
Weir, as is his wont in later years, keeps the editing and camera work minimal. We have still camera shots with relatively little cutting throughout the film, which allows us to remain connected with the characters as they journey. There are notable exceptions in the beautiful fly-by shots of the environs that remind us just how far these men are going and the close, intense, steaming-but-still-freezing, loud environment of the mine that is shot with quicker cuts, different colors, and more close-ups. His work is stunning.
There are some problems with the film. The third act is rushed and drives home the metaphor so obviously that it's almost laughable. The journey through Siberia is a bit repetitive. But those are relatively minor flaws in a beautiful film. Peter Weir remains a genius.