All Is Lost
Director: J.C Chandor
Cast: Robert Redford
Length: 106 minutes
Country: USA
Sometimes people wake up to find they are lost at sea. They are stuck in a situation that is controlled by external forces beyond their control and the only thing they can do is deal with the problem in an appropriate manner. If it sounds like I’m being vague, it’s because All Is Lost, the second feature from J.C Chandor, is an exercise in metaphor so ostensibly simple one has to address the frequently asked question of whether the film was ‘about’ anything numerous times after viewing it. Following serious consideration, it becomes apparent there is much to savour and celebrate in this sombre meditation on the human spirit and the way it can bend, break and mend in times of crisis.
The film begins with an offscreen tired, defeated voice admitting “I fought ’til the end, I’m not sure what this is worth, but know that I did.” This provides the narrative framework for the following 105 minutes as the audience is taken back eight days with the knowledge that this unnamed character will experience a series of events following the wreckage of his boat in the middle of unknown waters. No back story is given and none is needed; everything we need to know is about to be shown to us. The characterisation is not as important as the actions themselves; if Robert Redford’s ‘Our Man’ (the only character in the film) was to have any discerning characteristics, he would not stand as a representation of the ‘everyday man’ and the metaphor would fail. It is in his actions and constant attempts at survival where evidence suggests the power of the human spirit is vital to stay afloat in troubled waters.
Redford’s performance is unarguably brilliant; his ability to express emotion without dialogue mainly through the use of his eyes is extraordinary.
All this is metaphor of course, but it is of primary importance when viewing the film as it would seem an almost unnecessary exercise when viewed on a literal level. It is in the filmmaking aesthetics and the minimalist script where both Redford and Chandor are given chance to shine. Redford’s performance is unarguably brilliant; his ability to express emotion without dialogue mainly through the use of his eyes is extraordinary and his inevitable release of frustration coupled with a solitary – ‘Fuck!’ – holds more power than many other, typically hammy Oscar season performances. Moreover, the narrative is carefully designed to lead the audience into frustration to a point where the barrier between spectator and performer is broken down, replaced with complete immersion in the situation. Impressively varied cinematography wields positive results featuring some scenes close to Life of Pi beauty mixed with shaky, handheld Cloverfield style cinema, eventually producing a film that is just as thoughtful and meditative as it is scary and hopeless.
Thematically, the clichéd and obvious message regarding humanity’s reliance on technology is downplayed; a scene featured Redford seemingly confused and unable to fix his radio device is the closest thing we’re given to a slap on the wrist from Chandor. Instead, this is a film that allows the audience to make their own decisions and create an individual response. In a brilliant display of mise-en-scène, the camera focuses on Redford calmly shaving his face in the mirror whilst a tumultuous storm rages outside, barely acknowledged by ‘Our Man’ or by the camera, consequently remaining in the background. Perhaps a display of blindness, inner angst or simply a narrative device designed to move the story forward; the multiple ways this shot can be interpreted is an example of the film’s ability to apply and be relatable to each viewer. Many of the best films don’t emphasise or accentuate, they simply show, letting the audience do the rest.
By assuming the intelligence of the audience and utilising a range of cinematic tools that are too often wasted and taken for granted, J.C Chandor’s All Is Lost is a cinematic tour de force exercising complete control over dialogue, narrative, cinematography and performance. Many may find it vague, empty and frustrating but if you give it your time and consideration, this film will reward you generously.
Comments