“Thrilling!” “Magnificent!” “Dazzling!” “Spectacular!” “Off the Scale Brilliant!” “Epic!” “Landmark!” “A Tour de Force Performance!”
Advance critics are falling all over themselves in praise of All Is Lost, Robert Redford’s new film about a man lost at sea who must battle the elements in a lifeboat for a few days after his 39-foot sailing yacht collides with a shipping container (just the container, not the ship) in the middle of the Indian Ocean.
“Our Man,” as Redford is called in the credits, assesses the situation, repairs the hole with some fiberglass and epoxy, and then settles in for a meal of pasta and scotch. (That Redford — he chews better than anyone I know, whether he’s munching a hot dog on his way to a speech in The Candidate, dining al fresco with Jane Fonda in Barefoot in the Park, or scraping beans out of a can in Jeremiah Johnson, Butch Cassidy, or All Is Lost. In fact, scraping the beans seems to be what he does best — such a fine contrast between what his character does and who his character is. His chewing manners have always been impeccable.) And that smile — the face has become craggy and lined, but those teeth are still gorgeous. His character wants to maintain what’s left of those good looks too: when Our Man is facing a thunderous storm, he lathers up and shaves! And when his boat is sinking and he’s up to his armpits in water, he takes the time to tidy up a gash on his forehead with some well placed butterfly bandages.
Yes, the boat does eventually sink. After the hole is patched, Our Man encounters a storm described by critics as “Scarier than anything in A Perfect Storm!” And Our Man does indeed get tossed around as his ship rolls completely upside down and rights itself again. And again. (Kudos to Fred Astaire for coming up with the rolling room trick for his “Dancing on the Ceiling” routine in — when was that? 1951? Not exactly “landmark” cinematography.) It is rather thrilling when he is swept overboard and has to fight has way back to the boat (good thing he remembered to tie a rope around himself), but the underwater scenes of Naomi Watts nearly drowning during a tsunami in The Impossible were more stunning and realistic. Landmark? Hardly.
He’s probably smart, since he reads and drinks scotch and eats with impeccable chewing. But the movie doesn’t give the audience much to chew on.
Eventually Redford abandons ship and enters a lifeboat, where he battles the elements and discouragements for a few more days. Don’t get me wrong — being adrift in a lifeboat in the Indian Ocean for even one day would be enough to make me panic. But the film is entirely too Zen for me. The problem is that Our Man never panics. He just methodically faces whatever comes. He’s resourceful and hardworking, and he has forearms the size of Popeye’s. He never gives up. Yet we know none of his backstory. He’s probably wealthy (who else could afford to sail around the world in a 39-foot yacht?) and he probably has a family, since he is writing a farewell note to someone as the film begins. He’s probably smart, since he reads and drinks scotch and eats with impeccable chewing. But the movie doesn’t give the audience much to chew on — because the hero never says anything.
It’s almost as though he took a vow of silence along with that Zen-like patience. He doesn’t shout as he is flung overboard; he doesn’t curse when he sees that his boat has been rammed; he doesn’t talk to himself the way most people do when they are trying not to panic while they are figuring out what to do. The only apprehension we ever feel occurs when he is inside the hull of his boat, gathering supplies just before it goes down. The boat creaks and shudders, and the music strikes a spooky tone. Our Man glances forebodingly over his shoulder. But even that seems out of place. He looks as though he were expecting to see a bogeyman jump out of the closet.
With a moniker like “Our Man” for the film’s only character, we have to assume that the director was going for a deep philosophical connection of some sort. We are supposed to understand that Our Man represents our culture, awash in a sea of — what? Storms that wipe out our savings? Sharks that eat the food right out of our hands? Blatant consumerism (the shipping container contained athletic shoes) that rams our peaceful dreams? Corporations (two gigantic ships glide past Our Man without seeing him) that ignore the needs of the little guy? OK. I always appreciate a good metaphor, and the sea is a good place to find one. But Our Man Stephen Cox says it much more succinctly and clearly in a recent article for Liberty: “The realm of intelligent discourse is an island of sanity, washed by hot seas of nonsense.”
If anything in this film is “landmark,” it is the idea of filming an entire movie without dialogue. It’s almost like watching the old Name That Tune television show: “I can name that tune in one note!” All Is Lost gets away with the laconic approach because it stars Robert Redford, but Redford isn’t the kind of actor who can pull off a stunt like this. Moreover, All Is Lost is awash in a sea of “spectacular” survival films, and it just doesn’t measure up to such truly “magnificent” films as The Life of Pi, with its “dazzling” cinematography and storytelling; Gravity, with its “landmark” special effects; and Captain Phillips, with Tom Hanks’s “tour de force performance.” All Is Lost is “off the scale,” all right, but it’s sliding in the wrong direction. And with an opening-weekend box office of just $93,000, “all is lost” could be an oh-too-appropriate metaphor for this film after all.
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rdquo; All Is Lost