For this month’s final review for Genre Grandeur – Nautical Films, here’s a review of Cast Away (2000) by Sean of SeanMunger.com
Thanks again to Sean of SeanMunger.com for choosing this month’s genre.
In case you missed any of this month’s reviews, here’s a recap:
- The Abyss (1989) – Ryan
- Mutiny on the Bounty (1935) – Jay
- Jaws (1975) – John
- The Little Mermaid (1989) – Rob
- Das Boot (1985) – Catherine
- Titanic (1997)- Rob
- Below (2002)- Darren
- Cast Away (2000) – Rob
- Cast Away (2000) – Sean
In addition, I watched and reviewed 3 movies for my companion series Genre Guesstimation. Unfortunately, none of them will now be considered among my favorites of the genre.
Please get me your submissions by the 25th of Mar by sending them to firstname.lastname@example.org
Try to think out of the box! Great choice Jay!
Let’s see what Sean thought of this movie:
I was invited to do this article by MovieRob for his Genre Grandeur series for February, and he asked me to choose the genre. I decided to do Nautical Films–movies that take place in, around, under, or have something significant to do with the sea. Thanks to Rob for hosting this event! I’ve chosen to analyze Robert Zemeckis’s 2000 film Cast Away.
The call of the sea is something that you either feel or you don’t. I’ve been drawn to it my whole life, always fascinated by ships, their stories and their history. My latest science fiction novel takes place aboard a cruise ship, my 2006 book Life Without Giamotti takes place partially on a submarine, and years ago I wrote a whole book about the “life” of an ocean liner. You’ll also see I’ve done a number of articles on my blog tagged “nautical.” I think the unspoken call of the sea is part of why stories about it have such a long and robust tradition, both in literature and in film. Cast Away, the 2000 adventure drama film by director Robert Zemeckis, is about the most classic and basic sea story that’s ever been told: a man who’s stranded alone on a deserted island. Yet that simple premise, which was done in English-language literature most notably by Daniel Defoe’s 1719 novel Robinson Crusoe, seems as compelling to us today as it did 300 years ago, and Cast Away is the master blueprint of how to do a centuries-old story in a modern movie.
Trailer for Cast Away
Cast Away begins at the Christmas holidays in 1995, when Chuck Noland (Tom Hanks), a restless and hard-working executive for Federal Express, is juggling family, his academic girlfriend Kelly (Helen Hunt) who’s finishing her dissertation, and the heavy travel demands of his job. Just after Christmas he goes on a business trip to Malaysia on a FedEx plane. The plane crashes in a violent storm, killing all of the handful of people on board except Chuck, who washes up on a deserted island somewhere in the South Pacific. Using wreckage from the plane–including the contents of FedEx packages the craft was transporting–Chuck has to survive as best he can, figuring out where to get food, how to make fire and solve various other problems, including an impacted molar. Chuck’s only “companion” is a volleyball, on which he paints a face and talks to, calling it Wilson. (Spoiler alert) After four years on the island Chuck builds a raft and is eventually rescued and returned to civilization, but finds his life irrevocably changed, as everyone he left behind, including Kelly, gave him up for dead years ago.
As beautifully simple as its basic premise is, Cast Away is a complicated movie, and it was an extremely ambitious one. For one, it’s an incredibly tall order for an actor to go through almost an entire film completely alone, talking only to himself and inanimate objects. Tom Hanks rises to the challenge, never better in his career (in my opinion) than he is here; add to the acting challenge a grueling physical one, having to go from a pudgy middle-aged executive to an almost emaciated island native who’s used to living off the land. Director Zemeckis treats the material with the utmost care and subtlety, carefully avoiding the various story and tone pitfalls that could easily have turned the film into either a sappy melodrama or a boring survival picture. A lesser director would have simply assumed that Chuck’s struggle to survive on the island would be interesting to an audience by definition. Not Zemeckis. It’s not an interesting story just to see anyone try to survive on a tropical island. He and Hanks want us, the audience, to go along with the picture because we want to see the character of Chuck survive. This is an important distinction.
In Cast Away, suburban everyman Chuck Noland (Tom Hanks) is forced to learn how to adapt to basic-survival situations, such as making fire without matches. Could you do this?
Zemeckis is also keenly aware that the plot and premise of Cast Away is as old as stories themselves, and he uses its timelessness in the picture’s favor. In traditional castaway stories like Robinson Crusoe, the marooned man is usually a sailor who has some understanding of the sea and some training or temperament to survive in emergency situations. In Cast Away, though, Chuck is totally a fish out of water. Most of us have not had military or survival training. If we dropped out of an airplane onto a deserted island we’d be as clueless as Chuck first is. Personally I have no idea how to make a fire without matches. I could probably do it, but I’d most likely blunder onto the answer largely by a combination of intuition and chance, as Chuck does in the film. Centuries ago people might generally have been better adapted for situations like this. Our own modern world, and our naivete and complacency, has made us into different people than those who took to the seas hundreds of years ago. Zemeckis knows this, and it’s part of why the film works.
It also works because it’s totally realistic, and possible. Despite heavily-trafficked air corridors, GPS satellites and Google Earth, there really are still “desert islands” out there in the real world, and if you happened to be stranded on one, your chances of rescue would be pretty slim. The sea remains every bit as big, expansive, unforgiving and daunting today in the 21st century as it was in Robinson Crusoe’s time, or in ancient times when humans first took to the oceans. In the final analysis a FedEx jet equipped with powerful engines and modern communications tools is just as vulnerable to the power of the sea and the environment as an 18th century sailing ship. In Cast Away Chuck does not survive through the application of modern technology, but through the age-old qualities of human invention, improvisation and the will to survive. These qualities are deeply personal and compelling in us all. As a result, Cast Away strikes us in a place where our most timeless emotions and cultural memories live. I’m convinced this is why the film was a hit. At the dawn of the 21st century audiences paid $429 million to see a story as old as the Bible. Not a lot of modern films can boast that.
For most of the film, Tom Hanks’s only companion is a volleyball named Wilson. Hanks not only rises to the acting challenge, he demolishes it, giving one of the best lead performances of his remarkable career.
Cast Away succeeds in answering the mysterious call of the sea that many of us feel and can’t put into words. It also deals with our human relationships with the sea and the environment in unique and compelling ways. It’s truly a great film, and, on top of all that, a thrilling and entertaining adventure story. It’s one of those films that’s slowly ascending the list of my favorite movies.
Thanks again to MovieRob for hosting this series.
[Copyright: The promotional image for Cast Away is presumably copyright (C) 2000 by Twentieth Century Fox. I believe my inclusion of it here is permissible under fair use.]