Into the Wild (2007)

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Into the Wild (2007)

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Into the Wild (2007)

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In Christopher McCandless, director Sean Penn has found a character that speaks to his own quest to find meaning in life. Instead of focusing on characters that are spiritually dead, as he did in his first three films, Penn gets to tell the story of a young man who is absolutely spiritually alive, and this spurs Penn the director onto a level of empathy equal to that of Penn the actor. One need not share McCandless' goals in order to appreciate Penn's movie – this film is far from an endorsement to throw off the conventions of society and live off the land. The screenplay offers numerous reasons other than a romantic desire to lead a Thoreau-inspired life for McCandless to set off on his journey. There are painful psychological scars driving him, as well as an honest if occasionally petulant need simply to do what isn't expected of him. Emile Hirsch, the young actor playing McCandless, embodies all of these conflicting but powerful motivations in a performance that never once rings false. Hirsch succeeds grandly in the first rule of modern film acting – he doesn't "act," he simply "is." The actor is so present in the part that the audience easily accepts how he changes the lives of those he meets during his journey. Catherine Keener delivers yet another vivid performance as Jan, a fellow tramp who, with her husband, Rainey (Brian Dierker), provides the model for the ideal family Chris never had growing up. Keener and Dierker, in an outstanding movie debut, suggest the deep history between them in little more than loving if occasionally pained looks. These people have the emotions that Chris wants to feel – even if he does not realize that is what he wants until the end of the movie.

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Into the Wild (2007)

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The story is structured in five acts, and at the end of each act Penn breaks typical movie convention and has McCandless look directly into the camera. The first time this happens it seems like a boneheaded choice – as if the director didn't trust his audience enough to love the character on our own. But as these moments accumulate, one realizes that those looks into the camera aren't about gaining sympathy, but are about sharing intimacy. We are moved and affected by Chris' journey, just as the other characters in the film have been. When Chris learns his final lessons in Alaska, when he finally discovers the truth that he himself has been looking for, the film has the weight of Greek tragedy. But instead of devastation, one leaves the movie with a sense of exhilaration – the sense of a life well-lived. With this film, Penn, who always seemed like an old soul trapped in a young man's body, shows that he has matured. Into the Wild is a grandly successful statement of purpose both as an artist and as a person.

Perry Seibert, Rovi

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Into the Wild (2007)

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A superb cast and an even-handed treatment of a true story buoy Into the Wild, Sean Penn's screen adaptation of Jon Krakauer's bestselling book. Emile Hirsch stars as Christopher McCandless, scion of a prosperous but troubled family who, after graduating from Atlanta's Emory University in the early 1990s, decides to chuck it all and become a self-styled "aesthetic voyager" in search of "ultimate freedom." He certainly doesn't do it halfway: after donating his substantial savings account to charity and literally torching the rest of his cash, McCandless changes his name (to "Alexander Supertramp"wink.gif, abandons his family (William Hurt and Marcia Gay Harden as his bickering, clueless parents and Jena Malone as his baffled but loving sister, who relates much of the backstory in voice-over), and hits the road, bound for the Alaskan bush and determined not to be found. For the next two years he lives the life of a vagabond, working a few odd jobs, kayaking through the Grand Canyon into Mexico, landing on L.A.'s Skid Row, and turning his back on everyone who tried to befriends him (including Catherine Keener and Brian Dierker as two kindly, middle-aged hippies and Hal Holbrook in a deeply affecting performance as an old widower who tries to take "Alex" under his wing). Penn, who directed and wrote the screenplay, alternates these interludes with scenes depicting McCandless' Alaskan idyll–which soon turns out be not so idyllic after all. Settling into an abandoned school bus, he manages to sustain himself for a while, shooting small game (and one very large moose), reading, and recording his existential musings on paper. But when the harsh realities of life in the wilderness set in, our boy finds himself well out of his depth, not just ill-prepared for the rigors of day to day survival but realizing the importance of the very thing he wanted to escape–namely, human relationships. It'd be easy to either idealize McCandless as a genuinely free spirit, unencumbered by the societal strictures that tie the rest of us down, or else dismiss him as a hopelessly callow naïf, a fool whose disdain for practical realities ultimately doomed him. Into the Wild does neither, for the most part telling the tale with an admirable lack of cheap sentiment and leaving us to decide for ourselves.

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Into the Wild (2007)

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In Sean Penn's first three helmed efforts - The Indian Runner (1991), The Crossing Guard (1995), and The Pledge (2001) - each project seemed to advance upon each other - improving in the areas of pace, visual treatment and encapsulation and expression of subtext. My anticipation to view Into the Wild was skyrocketing upon first hearing of the production. This was especially true as, later, a good friend, (who sees over 150 films a year in theatres), stated that it was the best he had seen in 2007. Now that I have had the opportunity to view it (three times!) I enthusiastically agree (and yes, I have seen There Will Be Blood and No Country For Old Men). Into the Wild is up for Academy Award accolades in Best Achievement in Editing and Best Performance by an Actor in a Supporting Role (Hal Holbrook). The fact that it was not nominated for Best Picture or Penn for Best Director is only further proof at how ridiculously unremarkable achieving that statuette has become. It has evolved itself to be as worthless and meaningless as a Grammy. Just another 'celebrity' glad-handing ceremony of pomposity and flashy hollowness.

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Into the Wild (2007)

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Into the Wild is based on the best-selling, true story, book by Jon Krakauer. Its highest achieving ideal in the film is how faithfully it expresses the meaning of the protagonist's adventure - reaffirming a spirit of dropping out, lack of caution, and escaping from the dissatisfaction of society's goals and selfish aims. Hippie-esq indeed. Christopher McCandless (aka Alexander Supertramp) is played with quiet zeal by Emile Hirsch - who was recently touted as being 'one of the futures of American acting'. This is a visually appealing road-picture with frequent flashbacks and unique montages explaining McCandless' motivations. It is delivered on screen with detailed precision by Penn.

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McCandless' Thoreau-inducing optimism will grate on some - too bad. Critics who see his 'distancing' as unprepared and foolish don't seem to realize that his trek, ending at an abandoned bus outside Alaska’s Denali National Park, was not as much escapism to a 'self-imposed' exile, but as a rebirth… which could only be fully achieved by death. I see his whole dice-rolling adventure as a full-circle suicide attempt that should have been obvious from episodes like kayaking down the rapids and giving all his money to charity. This is regardless of his diary indicating desperate, although feudal, attempts to survive in the end. As an highly intelligent product of society and the US College education system (McCandless achieved the grades for Harvard Law), stemming from a wealthy - albeit deeply troubled family existence - McCandless should be as big a warning sign as the latest school shooting massacre. Perhaps a precursor to the mindless instilling of surface values - that we, as a societal whole, just can't seem to take ANYMORE.

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Penn's defining vision through all this is a most profound statement on modernity, lack of communication and our inability to express honest love. His manner in showcasing the underlying themes of Into the Wild truly evokes another masterful filmmaker and his similar dissertations on alienation in the modern world - the recently deceased Michelangelo Antonioni. This film is that good folks… and I give it my highest recommendation.
Gary Tooze, DVDBeaver

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Into the Wild (2007)

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