Saturday, April 19, 2014
By Betsy Sharkey
‘All Is Lost” begins in darkness. There is a voice, though. Weary, almost apologetic, our man speaks of struggle, of trying and failing against an unforgiving sea. But soon the words stop and other languages – sight, sound, silence – pick up the story.
Redford’s character endures all manner of trials and tribulations after the sailboat he is piloting alone is involved in a collision with a shipping container.
Roadside Attractions photos
“ALL IS LOST,” starring Robert Redford. Directed by J.C. Chandor. Rated PG-13 for brief strong language. Running time: 1:46
And a face.
Weathered and worn by time, Robert Redford is our man. The only one you will see in this spare and unsparing film. A superhero in a hoodie and sneakers in the unlikeliest of action adventures.
The mission impossible is not to save the world, but himself. And the emotional crosscurrents we see on it become the film’s narrative anchor.
The plot, by writer-director J.C. Chandor, is deceptively simple, yet marked by great philosophical and physical complexity. A sailboat somewhere in the Indian Ocean and a lost shipping container collide, leaving our man stranded on a sinking ship, a gaping hole in the hull, the transmitter fried. There is no one to talk to, and – more significantly – no reason to.
Though there is uncertainty in every moment of the eight days that our man’s fate hangs in the balance, there is never any confusion about what is going on. All the existential questions are there in the doubt and the decisions.
In more concrete terms, the rare word that catches the eye – “lifeboat” on the side of the yellow-rubber inflatable – is unnecessary. We know. And the sailboat’s name, Virginia Jean, works better as a mystery. Lover? Mother? Child? No matter, like so much else, when survival is in question.
“All Is Lost,” which is only Chandor’s second film, reveals itself as remarkably skillful, surprisingly insightful and deeply moving. It’s a confident work by an artist who knows himself and trusts his audience. And it’s a 180-degree turn from his first, the 2011 Wall Street hit “Margin Call.” That fast-paced, slick corporate thriller was jammed with smart dialogue and earned the new filmmaker an Oscar nomination for original screenplay. It dealt with hubris.
Hope, humility and sheer determination shape “All Is Lost.”
The canvas is a vast ocean, beautifully and simply shot. Director of photography Frank G. DeMarco handled everything above sea level and underwater cinematographer Peter Zuccarini the rest. There are no villains per se, though the laws of nature are a formidable adversary.
On the technology front, “All Is Lost,” with its 2-D and micro-budget, is the anti-”Gravity” or half-”Life of Pi.” Virtually no special effects are used; even the sharks that circle Redford are real. It makes for rough patches here and there that a few more dollars would have helped.
You don’t have to be a nervous studio executive to know it is a huge risk to hang an entire movie on a script with almost no dialogue and a single, brutally physical role for one actor edging toward 80. But Chandor has turned these limitations into virtues. Starting with Redford.
The actor has always had a way of drawing the eye. There is an openness that suggests he can be trusted, a twinkle in those sky-blue eyes that hint at a tease, a smile that is just warm enough and tentative enough to temper the fact that he is incredibly, ruggedly handsome. Still.
It’s also such a familiar face. One that has made so many characters indelible in major films like “Butch Cassidy and the Sundance Kid,” “All the President’s Men,” “The Sting” and on it goes. Perhaps “The Natural” reflects his charisma best – Redford has always seemed a natural on screen. In “All Is Lost” he appears more at ease than ever. Stoicism and few words suit him.
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