The Walk (2015)

Based on the novel To Reach the Clouds by Philippe Petit, The Walk is the story of Philippe Petit’s high-wire walk between on top of the World Trade Center buildings in August of 1974. Directed by Robert Zemeckis and screenplay by Zemeckis and Christopher Browne, the film is a dramatic take on the real-life story of Petit’s legendary walk as he is played by Joseph Gordon-Levitt. Also starring Charlotte Le Bon, James Badge Dale, Steve Valentine, Ben Schwartz, and Ben Kingsley. The Walk is a thrilling and mesmerizing film from Robert Zemeckis.

On August 6, 1974, French high-wire walker Philippe Petit did a walk on a wire between the two roofs on top of the twin towers of the World Trade Center as it was a feat that seemed to be impossible. The film is about what Petit did and what it took to pull off something like this as it is told by Petit just after he had done the impossible where reflects on what made him become a high-wire walker as well as wanting to do things that had never been done. With the guidance of his mentor Papa Rudy (Ben Kingsley) and the support of friends including girlfriend Annie (Charlotte Le Bon), Petit plans to do the high-wire act as it would take time and effort as he also awaits for the buildings to be nearly finished. The film’s script is quite straightforward in some respects as it is told in a reflective manner by Petit with some voice-over narration. Notably as it play into Petit’s fascination with walking on a wire as well as the slow-build into creating the ultimate high-wire walk while the script isn’t afraid to show flaws in Petit’s character as he is quite crazy in what he wants to do as well as being very eccentric.

Robert Zemeckis’ direction is definitely astonishing in terms of the visuals he creates as it is about that sense of the impossible. Even as he re-creates early 1970s New York City where the World Trade Center towers once stood as much of the film is shot in Montreal as parts of Paris and New York City with much of it shot on soundstages. Zemeckis’ usage of wide and medium shots play into the scope and scale of what Petit has to do as well as try to create a sense of realism in the high-wire walks. Zemeckis isn’t afraid to go into stylistic shots whether it’s a low-angle shot or from above as it adds to the sense of danger of what Petit will do.

The recurring shot of Petit talking top of the light at the Statue of Liberty is among one of the stylish moments of the film as it has the World Trade Center towers in the background while Petit is seen in the foreground in a wide-medium shot. The scenes preceding the climatic walk does have a feel of a heist film with its air of suspense and some humor as it would lead to that enthralling climax that is the walk. Overall, Zemeckis creates an evocative and exhilarating film about a man performing a high-wire walk on top of the World Trade Center towers.

Cinematographer Dariusz Wolski does excellent work with the film‘s cinematography from the usage of black-and-white and de-colored photography for some of the early scenes set in Paris to the lighting for the scenes in setting up the walk as well as the colorful look of the climatic walk. Editor Jeremiah O’Driscoll does nice work with the stylish editing in its usage of jump-cuts as well as some montage-cutting style into the evolution of Petit‘s work as a performer. Production designer Naomi Shohan, with art director Felix Lariviere-Charron and set decorators Geoffrey Gosselin and Ann Smart, does amazing work with the look of the Parisian home that Petit stays as well as the look of the rooftops of the two towers. Costume designer Suttriat Anne Larlarb does fantastic work with the costumes as it plays into the look of the early 70s for many of the characters in the film as well as the simple clothes that Petit wears in his high-wire walk.

Visual effects supervisor Kevin Baillie, Jim Gibbs, Viktor Muller, and Sebastien Moreau do brilliant work with the visual effects from the re-creation of the 1970s New York City and Paris as well as the film‘s climax in the walk. Sound editor Bjorn Ole Schroeder and sound designer Randy Thom do superb work with the sound as it play with the sounds of the elevator and things in the towers as well as some of the calm moments in the film that includes the climatic walk. The film’s music by Alan Silvestri is wonderful for its orchestral-based score with its lush-string arrangements that range from being playful to dramatic as it also includes bits of folk guitar as well as funk where the soundtrack would feature a lot of music from the 70s.

The casting by Scot Boland and Victoria Burrows is marvelous as it include some notable small roles from Ben Schwartz and Benedict Samuel as a couple of Americans who volunteer for the stunt unaware of what they’re getting themselves into as well as a terrific performance from Steve Valentine as a businessman named Barry Greenhouse who joins in knowing who Petit is. Cesar Domboy is superb as the acrophobic Jeff who helps Petit in setting up the wire in the North Tower while Clement Sibony is excellent as Jean-Louis as the man who would take photos of all of Petit’s walks as well as be the accomplice in all of the set-ups for the high-wire walks. James Badge Dale is brilliant as Jean-Pierre as an American who can speak perfect French as he helps Petit and the gang in getting things done as he can bullshit his way through any situation.

Ben Kingsley is amazing as Papa Rudy as Petit’s mentor who would teach him what to do in preparing something as astronomical as his stunt as well as be taken aback by what Petit is trying to do without some form of safety. Charlotte Le Bon is remarkable as Annie as a street musician who meets and falls for Petit as she joins him in the trip as well as do whatever she can to help him and be his moral compass. Finally, there’s Joseph Gordon-Levitt in a phenomenal performance as Philippe Petit as this kind of crazy but determined performer who can do juggling and all sorts of things while his main gift is to walk on a high wire as he wants to do one of the craziest stunts where Gordon-Levitt provides some charm and energy as it’s one of his finest performances.

The Walk is a sensational film from Robert Zemeckis that features an incredible performance from Joseph Gordon-Levitt as Philippe Petit. Featuring an excellent supporting cast and dazzling visuals, it’s a film that plays into what could be possible with some imagination and determination. While the 2008 James Marsh documentary Man on Wire is the more definitive story of Petit, this is still a fitting companion to Marsh’s film. In the end, The Walk is a remarkable film from Robert Zemeckis.

Related: Man on Wire

Robert Zemeckis Films: (I Wanna Hold Your Hand) - (Used Cars) - (Romancing the Stone) - Back to the Future - (Who Framed Roger Rabbit?) - (Back to the Future Part II) - (Back to the Future Part III) - (Death Becomes Her) - (Forrest Gump) - (Contact) - (What Lies Beneath) - (Cast Away) - (The Polar Express) - (Beowulf (2007 film)) - (A Christmas Carol (2009 film)) - Flight (2012 film) - (Doc Brown Saves the World) - (Allied (2016 film))

© thevoid99 2016

Flight (2012 film)

Directed by Robert Zemeckis and written by John Gatins, Flight is the story of a substance-abusing airline pilot who manages to stop an airplane from crashing as he later tries to deal with addiction to drugs and alcohol. The film marks a return for Robert Zemeckis after a period of helming motion-capture animated films as he explores a man dealing with his addiction and actions. Starring Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, and Melissa Leo. Flight is a harrowing yet gripping film from Robert Zemeckis.

The film is this exploration into the life of an airline pilot who is brilliant but troubled by his substance abuse when he suddenly does the impossible and save a bunch of lives during a crash landing that could’ve killed everyone on board. Yet, he not only deals with the fact that there were a few people that did die but also the questions into whether he’s a hero or was he negligent in his role during this event. In turn, Captain Whip Whitaker (Denzel Washington) is forced to face not just what he did but also his substance abuse as he’s an alcoholic who also occasionally does some cocaine. While meeting a recovering heroin addict in Nicole (Kelly Reilly), he tries to deal with the lies he has created as friends try to help him yet the guilt over the lives that were lost and his actions continue to haunt him. It’s a film that is about a man dealing with guilt where he would eventually reach his bottom.

John Gatins’ screenplay is largely a character study about Whitaker as he’s a man that is divorced and he doesn’t see his son very much while he spends most of his time drinking and doing some cocaine with a flight attendant. He’s even intoxicated during this flight where everyone could’ve died but he has somehow managed to pull something off that some describe as miraculous. The film’s first act not only follows Whitaker’s day where he nearly crashed the plane but also Nicole who would reach her bottom after nearly dying of a heroin overdose. Whitaker’s encounter with Nicole would have him thinking about getting sober but his demons would often come back which would threaten their relationship as Nicole is eager to stay clean.

Adding to the chaos of Whitaker’s life is an impending hearing he has to face about his role where he asks those to lie for him so he can save his own skin. Still, there are those like his friend Charlie (Bruce Greenwood) who wants to help as does Whitaker’s lawyer Hugh Lang (Don Cheadle) but Whitaker proves too much to be a man who is just unraveling. Especially as he is convinced that he’s failed as a husband and father as he hopes this hearing he is to attend will get him back on a plane and just do what he does without compromise.

Robert Zemeckis’ direction is unique in not just some of the way he presents the drama but also in the fact that it is a story of a man not willing to face his demons as he is waiting to hit his bottom. Much of the direction in terms of the drama is pretty straightforward but also entrancing in some of the close-ups he creates to showcase the sense of pain and denial that Whitaker is dealing with. He also puts in some little details into the compositions such as the line of coke that is on a small mirror or a tiny bottle of vodka. There is a sense of unpredictability in the way Zemeckis captures a man that could be falling apart one day or be sober the next though it all plays into Whitaker’s state of mind as he just wants to self-destruct or lash out at someone. Still, Zemeckis wants to present Whitaker as a good man in a scene where he helps Nicole move out of her apartment where he fights off her landlord as he would offer her a place to stay. Even as he accompanies to meetings where Zemeckis has the camera on a person talking as well as Whitaker’s reaction where it does play into a sense of foreshadow.

The plane crash sequence is definitely one that is filled with terror and gripping suspense where Zemeckis maintains a claustrophobic intimacy of what goes on in the cockpit as well as where the passengers are sitting as the plane would go upside down. The shots of the plane from the outside are quite spectacular to play into the horror and the sense of the impossible that Whitaker pulled off. Still, that moment would be shown in numerous occasions including the hearing that Whitaker attends as it’s definitely one of the most chilling moments of the film as it is also its climax. One that is just unforgettable not just in its dramatic impact but also in the way Whitaker has to face not just truths about himself but everything else he did in that day. Overall, Robert Zemeckis creates a very powerful drama about a man facing his own demons and the lies that he surrounds himself with.

Cinematographer Don Burgess does excellent work with the film‘s cinematography from some of daytime locations in Atlanta as well as the scenes in the Whitaker farm to some of the interior scenes such as some shots in hotels and the bars that Whitaker goes to. Editor Jeremiah O’Driscoll does brilliant work with the editing from the use of rhythmic cuts for the film‘s intense moments in the plane to some of the stylish cuts for some of the film‘s dramatic moments. Production designer Nelson Coates, with set decorator James Edward Farrell Jr. and art director David Lazan does fantastic work with the set pieces such as the plane as well as the farm that Whitaker lives in as a sanctuary to get away from the press and the world.

Costume designer Louise Frogley does terrific work with the costumes where it‘s mostly casual with the exception of the hippie-like look of Whitaker‘s friend/drug dealer Harling. Visual effects supervisors Kevin Baillee and Hitesh Shah do amazing work with the visual effects for the scene of the plane where it plays into that sense of danger where it looks like it‘s going to crash as it‘s one of the film‘s major highlights. Sound designers Dennis Leonard and Randy Thom do superb work with the sound to capture what was going on inside that plane as well as some of the sound mixing to play into the troubled state of mind from Whitaker as well as Nicole early in the film. The film’s music by Alan Silvestri is wonderful for its broad orchestral score for some of the film’s intense moments along with low-key cuts to underscore the drama while its soundtrack contains a mix of music from the Rolling Stones, Joe Cocker, Marvin Gaye, the Red Hot Chili Peppers, and several others.

The casting by Scot Boland and Victoria Burrows is incredible for the ensemble that is created as it features some notable small performances from Nadine Velazquez as the stewardess Whitaker is with in the beginning of the film, Peter Geraty as the airline owner who wants to punish Whitaker for making him lose money, Garcelle Beauvais as Whitaker’s ex-wife Deana, Justin Martin as Whitaker’s son who doesn’t want to see him, Tamara Tunie as a flight attendant that survived the crash as she knows about Whitaker’s substance abuse, and James Badge Dale in a very memorable one-scene performance as a cancer patient Whitaker and Nicole meet at the hospital. Brian Geraghty is terrific as Whitaker’s co-pilot Ken Evans who would survive the crash as he would be a key person that would force Whitaker to confront his demons. Melissa Leo is wonderful as a NTSB investigator who interrogates Whitaker at the hearing.

John Goodman is very funny as Whitaker’s drug dealer Harling who always comes in to a Rolling Stones song as he would find ways to get Whitaker back up as he’s also a very unique individual who is an enabler but also the one person that can get him to focus. Don Cheadle is superb as Whitaker’s lawyer Hugh Lang who tries to get Whitaker to face the reality of his situation while admitting to not liking him. Bruce Greenwood is excellent as Whitaker’s friend Charlie who tries to help him deal with the legal things as well as trying to get him sober no matter how impossible it is. Kelly Reilly is fantastic as Nicole as this recovering heroin addict who befriends Whitaker as she would also live with him for a while as she would struggle with his alcoholism and her need to be sober.

Finally, there’s Denzel Washington in a magnificent performance as William “Whip” Whitaker as a man who lives a very exciting but empty life of being an airline pilot as well as doing all of the things a pilot does. Yet, he is a man that is denial over his substance abuse as he is also quite cruel and abusive to others which adds a sense of power to Washington’s performance. He can make Whitaker a despicable human being but also one who is sympathetic and in need of help as it is definitely Washington creating one of his best roles ever.

Flight is an incredible film from Robert Zemeckis that features a tour-de-force performance from Denzel Washington. Along with strong supporting work from John Goodman, Kelly Reilly, Bruce Greenwood, and Don Cheadle. The film is definitely one of Zemeckis’ best films that explores a man falling apart in the wake of a nearly catastrophic event where he does something miraculous. Even as he is forced to wake up and face the demons in his life. In the end, Flight is a phenomenal film from Robert Zemeckis.

Robert Zemeckis Films: (I Wanna Hold Your Hand) - (Used Cars) - (Romancing the Stone) - Back to the Future - (Who Framed Roger Rabbit?) - (Back to the Future Part II) - (Back to the Future Part III) - (Death Becomes Her) - (Forrest Gump) - (Contact) - (What Lies Beneath) - (Cast Away) - (The Polar Express) - (Beowulf (2007 film)) - (A Christmas Carol (2009 film)) - The Walk (2015 film) - (Doc Brown Saves the World) - (Allies (2017 film))

© thevoid99 2013

Shame (2011 film)

Directed by Steve McQueen and written by McQueen and Abi Morgan, Shame is the story of a 30-something yuppie who struggles with his addiction to sex until the arrival of his younger yet troubled sister that only causes more problems. The film is an exploration into a man’s addiction as well as the broken relationship between himself and his sister. Starring Michael Fassbender, Carey Mulligan, Nicole Beharie, and James Badge Dale. Shame is a gripping yet eerie film from Steve McQueen.

Brandon Sullivan (Michael Fassbender) is an Irish-born yuppie who works as an ad executive for his friend/boss David (James Badge Dale) in New York City. Brandon is also a sex addict whose addiction is becoming impossible to endure as he continually has sex with various women while watching internet porn and masturbating constantly. Brandon’s troubled life is then hampered by the arrival of more troublesome sister in Sissy (Carey Mulligan) who makes an unexpected visit. Sissy’s presence in Brandon’s world only adds to chaos of Brandon’s life as he and David go to see Sissy sing at a nightclub where would have sex with David.

While Brandon has become attracted towards a secretary in Marianne (Nicole Beharie), he struggles to control his addiction as he tries to start a relationship with her. Instead, it becomes more complicated after David had found lots of porn in Brandon’s work computer during a check-up on the computers in the company. Things eventually gets worse when Sissy’s messy lifestyle and dependant behavior starts to get to him. Particularly when Sissy realizes that he has a problem as it eventually leads to dire consequences for the two siblings.

The film is about a sex addict’s tumultuous life as he struggles to maintain his addiction as well as the presence of his more troubled younger sister. Still, it’s also about people who are definitely unable to really get their shit together. Steve McQueen and co-writer Abi Morgan create a script that explores this man’s world as he’s often obsessed with sex from the way he encounters women to his need to fulfill his addiction through internet porn and masturbation. While Brandon Sullivan isn’t exactly in denial that he has a problem, he’s unable to be open about it while dealing with the fact that he really can’t control it. An attempt to try a normal relationship with a secretary would only have him realize the emptiness of his own life. Still, this attempt to connect would only realize that being with a woman he seems to care for wouldn’t really be enough.

The presence of Sissy would only complicate things as she is just as fucked up and as troublesome as he is. Yet, she knows that while is not really afraid to admit that she is fucked up. She is a very irresponsible person who creates messes and often gets into lots of trouble. The reason she is dependent on Brandon is because she’s unable to really take care of herself as she’s been through another bad relationship and in need to be with someone. There is a hint of a possible incestuous connection between the siblings but McQueen and Morgan choose to remain ambiguous with that relationship as they create this ominous character study as well as a compelling look into the world of sex addiction.

McQueen’s direction is truly mesmerizing for the way he dwells into the complicated life of this man. While there’s a lot of intimate yet somber moments in the way McQueen presents the relationship between Brandon and Sissy. It’s the way McQueen frames the two of them that really gives the film something different and engrossing. Notably the scene of Brandon and Sissy arguing while they’re sitting on the couch as McQueen shoots from the back of their heads as they’re watching TV. Another moment is Brandon’s date with Marianne as it slowly goes into a close-up as they’re having a conversation that is often interrupted by a waiter. The direction is very stylish for that framing while using New York City as a backdrop for a world that is vibrant but also unsettling.

One notable scene is where McQueen shoots Brandon running throughout the city in a tracking shot with one take as his camera is following him. There’s a lot of long takes that happens yet McQueen allows his actors to play things out naturally. Then there’s McQueen’s approach to sex and nudity where it is quite graphic with a lot of full-frontal nudity, male and female. While some might feel the sexual content delves into pornography. That’s not true considering that there’s no shots of penetration or anything that graphic as the sex is quite stylized. Still, it’s all about subtext as McQueen starts the film off with a scene of Brandon staring at this beautiful woman in a subway train while it’s inter-cut with him having sex or doing other sexual-related activities. The overall work that McQueen does is marvelous as well as entrancing as he creates a very stunning portrayal of a man in deep trouble.

Cinematographer Sean Bobbitt does a spectacular job with the film‘s photography from the very entrancing yet lush look of the NYC nighttime exteriors including some very beautiful interiors for some nighttime interiors including Sissy‘s club performance. Bobbitt also does some amazing daytime exteriors and interiors that includes a lot of non-sunlight shots to complement the mood of Brandon in his empty life. Editor Joe Walker does excellent work with the editing in creating that wonderful montage of Brandon’s sexual lifestyle as he stares at a woman in a subway while utilizing a large degree of styles to create a very methodical pace that allows the viewer to be engrossed in the story.

Production designer Judy Becker, along with set decorator Heather Loeffler and art director Charles Kulsziski, does a great job with the look of Brandon‘s apartment that is quite colorless and cold in its look to exemplify his life. Costume designer David C. Robinson does fantastic work with the sound from the suits and clothes that Brandon wears to the more stylish array of wardrobe that Sissy wears such as her red hat and leopard-spotted coat. Sound designer Glenn Freemantle does brilliant work with the sound to capture the atmosphere of the locations including the way music is played at Brandon’s apartment.

The film’s score by Harry Escott is magnificent for the way it plays to the drama with its orchestral swell and arrangements that is just eerie as well as some more ominous pieces played such as Brandon‘s run across the city. Music supervisor Ian Neill does terrific work with the soundtrack as it features a mixture of classical music, dance-club music including disco pieces by Chic and Blondie along with Tom Tom Club, and a devastating rendition of New York, New York sung by Carey Mulligan.

The casting by Avy Kaufman is superb for the cast that is assembled as the film features some memorable small roles from Elizabeth Masucci as a working woman David tries to flirt with, Amy Hargreaves as a woman Brandon has sex with at a hotel, and Lucy Walters as the beautiful woman Brandon eyes at the subway. Nicole Beharie is very good as the secretary Marianne that Brandon tries to connect with in a non-sexual manner while James Bade Dale is stellar as Brandon’s energetic and charming boss David.

Carey Mulligan is astounding in her role as the very fragile Sissy as Mulligan brings a very fiery performance to a young woman that is a mess. There’s some humor to the way her character interacts with Brandon while there’s also a sadness to her. Notably Mulligan’s singing of New York, New York that displays her vulnerability as her overall work is truly one of the most devastating performances displayed for any young actress. Finally there’s Michael Fassbender in a towering yet harrowing performance as sex addict Brandon Sullivan. Unafraid to show himself naked, there is a wonderful sense of restraint to Fassbender’s performance in the way he looks at a woman as a possible conquest. There is also an intensity in the way he tries to vent his anger as well as a charm when he tries to connect with Marianne. It’s definitely Fassbender at his best in what is certainly a very difficult yet mesmerizing performance for the Irish-German actor.

Shame is a hypnotic yet disturbing drama from Steve McQueen featuring two marvelous performances in Michael Fassbender and Carey Mulligan. The film is definitely not for everyone’s taste as it is a very adult film in terms of its strong themes of addiction and human fragility. Particularly with the sexual content that doesn’t play out in being sexy rather in exemplifying a man’s troubled life. In the end, Shame is a stylish yet exhilarating film from Steve McQueen.

Steve McQueen Films: Hunger - 12 Years a Slave - Widows (2018 film) - Small Axe - (Uprising (2022 film)) - (Occupied City) - (Blitz) - The Auteurs #52: Steve McQueen

© thevoid99 2011