Film Review: Cast Away (dir by Robert Zemeckis)


“WILSON!”

Seriously, I’m usually pretty well-behaved when I watch a movie but every time I see the 2000 film Cast Away, I find myself thinking, “Protect Wilson!  You must protect Wilson!”  And then, every time, I feel the sting of tears in my eyes as Wilson, with that red-face and that understanding attitude, goes floating away.

Wilson is a volleyball.  When a FedEx executive named Chuck Noland (played by Tom Hanks) finds himself stranded on a desert island, Wilson becomes his only companion.  A stain from Chuck’s bloody palm creates something that resembles a face on Wilson’s rubber surface and Chuck spends a lot of time talking to Wilson.  It’s how Chuck maintains his sanity, even as he loses weight, sheds most of his clothes, and grows a beard.

Chuck learns how to make fire.  He learns how to catch fish.  He is able to survive due to the supplies that he gathers from the FedEx packages that were being carried on the plane that crashed into the island.  But Chuck never stops dreaming of returning home to his girlfriend (Helen Hunt).  Eventually, Chuck finds the courage to try to make the journey back to civilization.  He brings Wilson with him but ultimately, this is something that Chuck is going to have to do on his own.  Of course, Chuck has failed to consider that he’s been gone for years.  He is presumed dead.  On the Island, time seemed like it was frozen.  For the rest of the world, life has continued.

Cast Away is a film that a lot of people, especially online film commentators, tend to criticize.  The complaint is usually that the film is essentially a commercial for FedEx, that it’s not believable that Tom Hanks could survive on that island for as long as he did, and that the film itself has a weak ending.  I’ll concede that the film does make FedEx look like the nicest corporation on Earth.  (FedEx’s CEO appears as himself, which should tell you something about how the company is presented.)  And I will admit that the film’s time-advancing jump cut, which abruptly takes Hanks from being clean-shaven and husky to being thin and bearded, does leave a lot of unanswered questions.  But I will always defend the film’s ending.  The film ends on a note of ambiguity but how else could it have ended?  Everyone thought Chuck Noland was dead.  His girlfriend had every right to get on with her life and, in fact, it would have been psychologically unhealthy for her if she hadn’t.  As for that final shot, it’s an acknowledgment that Chuck doesn’t know what lies ahead of him in the future.  All he knows is that he life isn’t over yet.  It’s a melancholy ending.  It’s a frustrating ending.  But it’s also the only way the film could have ended and therefore, it’s a perfect ending.

Cast Away is a film that I will always defend and it’s also a film that really only could have worked with Tom Hanks in the lead role.  He plays Chuck as being the ultimate everyman, an affable guy who was just trying to do his job and whose survival of the initial plane crash was largely due to luck.  Hanks is one of those actors who is instantly sympathetic and Cast Away uses his screen persona to good effect.  You want him to survive because he’s Tom Hanks.  He may be playing a character named Chuck Noland but ultimately, he’s Tom Hanks.  He survived being trapped in space.  Surely, he can survive being stranded on an island.  The majority of the film is just Hanks talking to himself.  This would have brought out the worst in so many actors but Tom Hanks makes it work.  And yes, he’ll bring tears to your eyes as he watches Wilson float away.  That’s the power of a good actor.

As for Wilson, I like to think that he washed up in Pensecola.  Recently, I played a little volleyball on a beautiful Florida beach.  Was that you, Wilson?

 

Funny Money (2006, directed by Leslie Greif)


Henry Perkins (Chevy Chase), the most boring man alive, has a job making wax fruit while his wife (Penelope Ann Miller) wants to make a living through drawing naked men.  (I guess that’s fair considering how many men make their living by drawing naked women.)  On Henry’s birthday, Henry spots a briefcase just like his and decides to swap them.  At home, Henry discovers that his new briefcase contains five million dollars!

Henry wants to move to Europe immediately.  But every time he and his wife try to leave their home, something occurs.  A menacing cop (Armanda Assante) shows up.  Henry’s friends drop by to celebrate his birthday.  The Romanian mob makes an appearance, looking for their money.  All Henry and his wife want to do is steal the money but instead, they spend a night dealing with false identities, physical comedy, and slapstick humor.

Funny Money was based on a stage play and it seems like the sort of thing that would have been hilarious if viewed live, with everyone running on and off the stage and some genuine suspense about who was going to show up next.  It does not translate well to film.  This would have been a good vehicle for Chase in the 80s or even the 90s but, by the time the movie was made, Chase seemed old and tired.  Penelope Ann Miller is never convincing as Chase’s wife.  (Someone should have tried to reunite Chase with Beverly D’Angelo or even Goldie Hawn for this movie.)  The main problem is that the supporting characters are never as funny or as quick-on-their-feet as the film needs them to be.  Armand Assante doesn’t seem to know he’s in a comedy.  Even a reliable actor like Christopher McDonald is let down by the film’s script and direction.  That’s too bad because the material had potential.  While it’s not a disaster like Cops and Robbersons, Funny Money is still never funny enough.