<\/a>Although it was a widely publicised news story at the time, there is a dilemma when discussing the events of this film.<\/p>\nSome will go in knowing what happened, whilst others will not.<\/p>\n
For the benefit of the latter, I\u2019ll refrain from revealing the full details but it is worth noting that the film is not a gory exploration of Ralston\u2019s distress and audiences might be surprised at the overall tone of the film, which is far from gloomy.<\/p>\n
An unusual project, in that so much of it revolves around a central location, Boyle contrasts the vital specifics of Ralston\u2019s confinement in the canyon with his interior thoughts as it becomes an increasingly desperate experience.<\/p>\n
The details of the situation are expertly realised as a penknife, water bottle, climbing rope and digital camera all assume a vital importance with a large chunk of the film feeling like an existential prison drama.<\/p>\n
This gives it a slightly unusual vibe, as the audience is effectively trapped with Ralston in a claustrophobic way.<\/p>\n
Using two cinematographers (Anthony Dod Mantle and Enrique Chedia) working in tandem, the ordeal is powerfully realised using a bag of visual tricks to delve deep into his physical and emotional trauma.<\/p>\n
Before we get to the canyon, the sun filled landscapes of Utah are shot and edited with a vibrancy and panache recalling some of Boyle\u2019s earlier work, notably Trainspotting and Slumdog Millionaire.<\/p>\n
There are also some poetic details that enrich the atmosphere: the distant planes above cutting through the blue sky, insects nonchalantly roaming free and the colour of the rocks themselves which look startling in the sunlight.<\/p>\n
Once he actually becomes trapped, a variety of different shots and perspectives help give the situation different visual flavours: the interior of his water bottle, the bone inside his arm and video diary footage on his personal camera, become important in breaking up the gruelling monotony of his predicament.<\/p>\n
His interior thoughts are brought to life with memories, flashbacks and hallucinations: a break-up with a girlfriend (Clemence Poesy); visions of his family and childhood; a strange chat-show monologue with himself and a flash flood.<\/p>\n
There are times when it feels the filmmakers are over-compensating for the limitations they chose, and more doses of stillness would have been welcome, but\u00a0overall the visual and audio design helps us get inside Ralston\u2019s physical and emotional situation with clarity and empathy.<\/p>\n
But the most brilliant decision of all was the casting of James Franco. His surface charms and hidden depths as an actor provide a perfect fit for the role, as he impressively navigates the emotional ride of his character.<\/p>\n