He never cuts away from Chuck - there are no "back in Memphis" scenes that would have broken the mood, nor is there any incidental music. Zemeckis' approach to this segment of the film is flawless. We follow Chuck on his step-by-step journey of survival, where even the smallest things, like getting a drink of coconut milk or using MacGyver-like ingenuity to devise a tool, become significant accomplishments. The scenes on the island are presented with uncommon intelligence (unlike similar events chronicled in the lame Six Days, Seven Nights, which used similar circumstances). Then, once Chuck is in the water, the sense of danger is palpable - especially during one unforgettable moment when the plane's spinning propeller is bearing down upon his small life raft. We see events unfold from inside the plane, amidst the wind and darkness, and it results in an eerie and genuinely unsettling situation. Zemeckis employs digital effects, but not to show the crash (he uses them primarily afterwards, to generate Perfect Storm-style waves). The plane crash which occurs during the first half-hour is handled differently from almost any aerial disaster I have seen in a motion picture. This is the film Red Planet could have been if it had possessed the guts to challenge viewers rather than saddle them with a worn-out, regurgitated plot. Although the movie's centerpiece is the 75-minute portion detailing Chuck's experiences while marooned, it's the third act, which offers no easy solutions for difficult situations, that elevates the film from the level of a stirring, innovative adventure to an fully satisfying drama. And how is he to obtain food and fresh water? Without proper tools, simple tasks like opening a coconut or making a fire become herculean efforts.Ĭast Away is divided into three clearly-defined acts: the setup, the main story, and the aftermath. There may not be any humans on the island, but something is making noise in the jungle at night. An inflatable life raft carries him to the surface and bears him to a deserted tropical island, where he learns that survival without the trappings of civilization is far more difficult than it's made out to be in books, on television, and in the movies. Suddenly, the plane is off course, there's an explosion, and Chuck finds himself underwater in the belly of a crashed plane. A short time later, he's airborne, flying through stormy skies over the South Pacific. Fresh from a trip to Russia, Chuck is enjoying Christmas dinner with his girlfriend, Kelly (Helen Hunt), and his family, when a call comes in: he's needed in Malaysia. In his younger days, he was known for having stolen a kid's bicycle to make a delivery after his truck broke down. His mantra is to do anything necessary to get a package to its destination on time. Chuck Noland is an overworked Federal Express exec who zips from country to country troubleshooting problems and streamlining operations. And, just when you think it's over, it defies expectations and metamorphoses into something different and more compelling. Cast Away will not be the crowd-pleaser that Forrest Gump was, but it's a deeper, more rewarding experience. Those expecting Zemeckis and Hanks to re-examine the same territory in Cast Away will be surprised - aside from the films' Oscar potential, there's little synergy. The 1994 blockbuster offers much more than its detractors, and even some of its supports, acknowledge. A brilliantly conceived trip through the latter half of the 20th century, Forrest Gump was part folksy feel-good drama and part well-concealed satire. The last time Zemeckis and Hanks teamed up, a legend was born - the idiot savant Forrest Gump. For Tom Hanks' Chuck Noland in Cast Away, it is the promise offered by the smile of his equally absent - and equally beloved - wife-to-be. Both films ask the same crucial existential question, one that Shakespeare pondered for years: taking all things into account, what does it mean to be human? How do we cope with loss, hopelessness, and isolation, and still find the courage to face the next day? The love and dream of a dead father sustained Jodie Foster's character in Contact. No, Cast Away isn't about space or messages from another planet, but, at its core, neither was Contact. I'm sure there will be wags who will glibly compare Cast Away to the likes of "Gilligan's Island" and "Survivor", but, in tone, approach, and overall accomplishment, this atypical Robinson Crusoe tale bears a strong resemblance to one of director Robert Zemeckis' earlier efforts, Contact.
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