criticism
break bones, each one of them an all-devouring bang into the midst of leaving most desolate, veins cut through like red jelly spaghetti, pocket knife blade inside the naked flesh, then out again, in, out, out, in, sweat flowing, blood spurts, heart races, pain, rage, the camera pans away, to go again, is becoming hysterical. An ordeal. Naked body cinema. Total intensive and voyeuristic, but are not effektheischend. In ecstasy, despair, half-starved and died of thirst. The Armabschneiden as an expression an untamed will to survive to die of an abandoned, before her ailing creature. The call for freedom drowned out all the personal pain and Ekelbarrieren and leads to anatomical climax. Before a single goal: to live. Only live. Nothing else. For the love of family and friends, in principle, for the really big things. From the amputation scene in which Danny Boyle's one-man play has reached the peak of his determination to shine primal forces. Boyle and Simon Beaufoy
adapted the true story of extreme climber Aaron Ralston, of the 127 hours trapped in a column of a rock was. Through a rare drastic measure he could free himself, his exhausted body into a completely dehydrated state, barely alive, with a right arm stump. His autobiographical story he wrote in 2003 and became the main attraction American press product. Ralston's fate was thematic favorable for Danny Boyle, the director because it is a recurring motif of a group of survivors that are sealed off from civilization, is compressed to the individual. This time, a sole survivor is isolated, the ultimate reduction to dramatic minimalism. Only he is at the center. No classic cut change of location, no other players, by the the camera lens more interested than a few moments, no narrative curlicues and dangling and clichéd Hollywood mannerisms. That "127 Hours" arises from a relatively unspectacular historical novel is, logically comprehensible at all times.
digs in the first half of the formally and emotionally split Boyle film is shot in the repertoire of his own unique style. The music rages through the idyllic images grellorangener meditative landscape photography, remember that not infrequently Boyles survival trip "The Beach" . Also symbolize sometimes two, but three often shared Split screens, the essential relationship between the bustle of the crowds in major cities on the one hand and the loneliness of an individual in bulky rock formations on the other. Jon Harris cuts fast and energetic. Really cool Aaron Ralston (James Franco) is introduced, which applies equally in a kind "The Beach" reminiscence on two women (who make, however, no particular majority), which he shows to be especially crazy climbing their way through the canyons . Already in the face of those unusually long exposure you learn stuff about Ralston, avoiding the fact that Boyle digs in the childhood of its protagonist. The art of few words much to tell. Ralston is left at the beginning seem exaggerated, the mountain is my second home, he is fearless, loves adventure, the thrill of the risk. Hard to imagine that he is not some time fatal.
adapted the true story of extreme climber Aaron Ralston, of the 127 hours trapped in a column of a rock was. Through a rare drastic measure he could free himself, his exhausted body into a completely dehydrated state, barely alive, with a right arm stump. His autobiographical story he wrote in 2003 and became the main attraction American press product. Ralston's fate was thematic favorable for Danny Boyle, the director because it is a recurring motif of a group of survivors that are sealed off from civilization, is compressed to the individual. This time, a sole survivor is isolated, the ultimate reduction to dramatic minimalism. Only he is at the center. No classic cut change of location, no other players, by the the camera lens more interested than a few moments, no narrative curlicues and dangling and clichéd Hollywood mannerisms. That "127 Hours" arises from a relatively unspectacular historical novel is, logically comprehensible at all times.
digs in the first half of the formally and emotionally split Boyle film is shot in the repertoire of his own unique style. The music rages through the idyllic images grellorangener meditative landscape photography, remember that not infrequently Boyles survival trip "The Beach" . Also symbolize sometimes two, but three often shared Split screens, the essential relationship between the bustle of the crowds in major cities on the one hand and the loneliness of an individual in bulky rock formations on the other. Jon Harris cuts fast and energetic. Really cool Aaron Ralston (James Franco) is introduced, which applies equally in a kind "The Beach" reminiscence on two women (who make, however, no particular majority), which he shows to be especially crazy climbing their way through the canyons . Already in the face of those unusually long exposure you learn stuff about Ralston, avoiding the fact that Boyle digs in the childhood of its protagonist. The art of few words much to tell. Ralston is left at the beginning seem exaggerated, the mountain is my second home, he is fearless, loves adventure, the thrill of the risk. Hard to imagine that he is not some time fatal.
After the unfortunate crash eventually replaced, first depressing hopelessness euphoric joy of climbing. Struggle against nature. Everything has been directed against Ralston. to lose a one-sided fight that Ralston. Ralston is trapped. "Everything [is] very close , augapfeldicht, a battleground with no room to maneuver or refining [...] " (" Underworld " - Don DeLillo, p. 396).. Boyle explores physical but also mental Nahtoterfahrungen out, fears and panic Ralston's too-human impulses that can be satisfied to a very limited run, straight crazy. remarkable that Boyle does not per se from hunger and thirst thinks, but also to the sexual desire Ralston, which is briefly mentioned in a scene. Boyle staged scary dynamic, incredibly fast, as to be out actually frozen the time seems there will be stalled out in the real speed of monotony, the full range of all levels of feelings, never simplistic or melodramatic, rather reserved and pleasantly calm, so that the viewer is directly involved as a silent observer of the action.
high voltage invokes the other hand, not superficially up the unnaturally limited location - the even - but rather it results from Ralston's slowly dwindling supplies and the building in this context on constant information on how much energy the battery containing his camera and how many milliliters of water in his water bottle are available. Overall, not much, Ralston is ultimately forced to drink their own body fluids. Even details in the form of shaky feet which, once they are held into the sunlight, an equal relief, as well as blunt pocket knife tests and continuous video recording of part of a documentary nature connoted Danny Boyle's highly concentrated production support with a sharp eye. Characterized is Ralston, however (noted specifically is the rain episode) using forceful flashbacks of past childhood and youth from bizarre visions, under which, in addition to Ralston's casual comments in the face of death, which tends to be serious tenor of the work broken often with ironic humor, which sometimes even in turns cynical (Introduction to "Lovely Day" of the third day).
makes it into the narrow crevice is not boring, Boyle compensated for the silence of the moment with the loud vibration of post-modern photographs. From every dusty crack in solid rock formations, the camera films (Anthony Dod Mantle, Enrique Chediak) extravagant prospects, flies directly in water bottles to the last drop of vital water, which can be increased as with microscopic detail. They also observed on human bone beating blades of a pocket knife, floating away from the column, up to Gesamtpanaroma of the landscape, drinking tubes and the mechanistic Ralston's hand inside camera, zooms and swivels madly unleashed wildly. Boyle schnipselt together in one of the most psychedelic moments a colorful collage of loud individual advertising various drinks brands. This has tremendously sarcastic and angry, but above all immensely stylish and aesthetic.
Of course "127 Hours" mainly moving one-man show. Tailored to the actor with whom one is suffering, accompanied him, always and everywhere present life. James Franco plays in the truest sense of the word for his life, skillfully alternates between subtle and wonderful destiny quarreling and ambitious, eager and devoted, self-assured prankster emaciated and radio host. Authentic and enthusiastic with a capacity for change. be he is on, according to some poignant text overlays, which is to see the real Aaron Ralston, directly towards the end of now both a note with the location of left and always accompanied by the right equipment: Of all his disastrous situation helps him to catharsis. A real fighter. The last few minutes when he finally escapes from his ordeal and meets other hikers, goose bumps. Franco has never been better.
Conclusion
Danny Boyle is a straightforward in its equipment arranged small, but succeeded in her statement all the more powerful hymn to the enduring human longing for freedom. With James Franco, while Boyle's breath is so far breathe for a movie challenging the premise with a lot of humanity lives. A small, big hit.
8 / 10
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