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Christopher McCandless, in becoming ‘Alexander Supertramp’, holds a mirror to us all, a meditation on what the ideal life completely in tune with nature, surviving only on ingenuity and adaptation skills, leaving the increasingly burdensome conflicts of society unhurried in order to become at one with the universe. Based on Jon Krakauer’s reconstruction of McCandless’ scramble from his diary, from letters, and from notes found after his death at age 23, IN THE WILD has been transformed into a Waldenesque film by Sean Penn who provided both the screenplay and the direction. While some may argue the very loose technique of relating this chronicle, few will arrive away design this film untouched by the sheer dreamy valor of a youth clear to pick up his have connection to the meaning of existence.
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The vivid McCandless (Emile Hirsch) graduates from Emory University and faces a celebratory dinner with his wealthy but dysfunctional parents (William Wound and Marcia Tickled Harden) and his adoring younger sister Carine (Jena Malone) . During the stilted and revealing dinner Christopher declines his parents’ gift of a novel car and instructions on how to travel with his life of success, instead electing to leave it all late and secretly state off on a personal drag to live in the wild. Stripping himself of worldly possessions he begins his road hasten with the ultimate destination being Alaska. Along the plot he encounters various people: Wayne Westerberg (Vince Vaughan) who offers him work harvesting grain and camaraderie; Jan and Rainey (Catherine Keener and Brian Dierker), two middle-aged hippies who offer him a sense of family; Tracy (Kristen Stewart), a 16-year archaic who offers him physical savor Christopher cannot condone; a Danish couple he encounters while rafting; and the elderly Frank (Hal Holbrook) who has no family and lives alone making leather trinkets, enthusiastic to ‘belong’ to the young man whom he sees as needy yet bold.
Christopher’s lumber aesthetic great covers America and Mexico, from the plains and farms to the homeless streets of Los Angeles to the splendors and natural cruelties of nature in Alaska. His struggles survive are balanced by his inebriation with the wonders of the natural world untouched by society. Yet in the extinguish he faces his have dissolution into the dust of nature alone.
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Hirsch immerses himself in this physically demanding role and manages to own onto our hearts all through his amble. The scurry of the sage is at times discordant with the over whisper narration by Jena Malone and the insertion of bits and pieces of quotations that aren’t pieced tightly together enough to avoid sounding superficial. Yet the supporting cast is very strong, including a incandescent miniature cameo by Cheryl Francis Harrington as a social worker with heart. The photography (Eric Gautier) is elegant and the musical derive, courtesy of Michael Brook, Kaki King, and Eddie Vedder, fits the mood through the film. And throughout the film Sean Penn has the restraint and taste to retain the chronicle valuable without ever making it maudlin. A very delicate film. Grady Harp, March 08
When I read Jon Krakauer’s “Into the Wild” approximately ten years ago, I was mesmerized by the tragic real-life legend of Christopher McCandless. But as powerful as I loved the book, I never even plan about a film adaptation. Maybe that was shortsighted of me. Recounting McCandless’s life and reconstructing it with minimal data and worthy introspection, “Into the Wild” succeeded as a cautionary adventure of idealism gone awry. Great of McCandless’s life was lived alone and remarkable of his anecdote was pieced together though brief encounters or recovered writings. So what was a thoughtful portrait on the page never really seemed like it would translate to the screen–certainly not with the same impact. Luckily, though, Sean Penn view otherwise. Adapting and directing Krakauer’s aesthetic book, Penn has fashioned a shadowy, humorous and bright film with sizable emotional resonance.
An affluent and likable young man, McCandless graduated with honors from Emory University and then state a course to redefine his life. Abandoning his family, friends, and material possessions–McCandless assumed the pseudonym of Alexander Supertramp and location off to peek the world in its most innocent invent. Living off the land and experiencing nature, fellow travelers, and powerful adventure–McCandless was looking for a unique day utopia and sought to spy his trusty self as he cast away the corruptions of original life. Touring the country for two years, McCandless’s exploration was to culminate in an Alaskan sojourn–where he would commune with “the wild.” His aspirations can be viewed as both admirable and delusional–but that is piece of the complexity of McCandless’s life. As distinguished as you want him to succeed, you realize there can be no gratified ending with the expectations he has in status.
Penn’s “Into the Wild,” thus, depends on evoking a McCandless that you will care about–either because you commend his pursuit or because you want him to arrive to his senses. And it really works in combination. In a dynamic performance, Emile Hirsch transcends his previous work and becomes a full-fledged leading man. Hitting all the factual notes, Hirsch creates a character who evokes our sympathy, our frustration, and even our laughter. McCandless meets a lot of companions on the road, and Hirsch makes it easy to observe why he was so popular. A huge role–Hirsch meets all the emotional challenges and also makes a physical transformation that is a both startling and worthy. His mountainous work is matched by a roster of gargantuan names including Vince Vaughn, William Pain, Jena Malone, and Marcia Blissful Hardin (among many others) . But Catherine Keener and Hal Holbrook are precise stand-outs–their adoptive relationships with Hirsch both challenge him and construct him understand (eventually) that life is not meant to be lived alone.
If there is any flaw in the film, it exists in the book as well. We can only know so worthy about McCandless from the resources available. He had a heightened sense of injustice particularly when it came to the “untruths” or perceived wrongs perpetuated by his family. Nothing presented, however, can interpret how his relatively normal dysfunction blossomed into such an indecent world conception. This secret is in McCandless’s mind alone.
“Into the Wild” works as a character behold and a gritty drama, but also as an adventure. The scenery and photography are breathtaking and the action sequences are well executed. There is worthy superior warmth and humor in the film as well. It was a fully satisfying film experience, to me, and has many still moments that have stayed with me. Highly recommended for serious adult audiences. KGHarris, 11/07