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It’s only in the wild, away from the power and protection that his money provides, that Hopkins’s blue blood can discover his true manhood. Though not without its pithy Mamet-isms, the script pares down the dialogue in favor of physical action. (His words, not mine.) Hopkins plays a billionaire locked in a vicious rivalry with a photographer (Alec Baldwin) over his wife (Elle Macpherson), but when a plane crash strands the two in the forest and a Kodiak bear starts stalking them, they set aside their differences. In The Edge, a thriller set in the middle of the Alaskan wilderness, Anthony Hopkins stands ready to kill a motherfucking bear.
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An entire movie of just James Franco jammed in a rock might have been better, but 127 Hours survives the clunkiness of its backstory.ĭavid Mamet’s obsession with masculinity usually comes out in the rat-a-tat dialogue between men confined to four-walled spaces, using language as their weapon of choice.
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Working from Ralston’s book, 127 Hours succeeds most when it sticks alongside him through this excruciating predicament, which he survives by recording video confessionals and MacGyver-ing solutions to slake his thirst (hello, urine) and free himself (good-bye, arm). While hiking alone through Utah’s Canyonlands National Park, Aron Ralston (James Franco) slips and falls down a slot canyon, catching his right hand and wrist in a boulder that keeps him pinned to the spot, unable to move or call for help. That jolt of mythological testosterone likely comes courtesy of John Milius ( Conan the Barbarian, Red Dawn, Apocalypse Now), who co-wrote the script, but Robert Redford tamps it down with a soulful performance as Mexican War veteran who escapes society, only to take on more physical and emotional burdens than he might have imagined. Nothing says ’70s Hollywood like a movie that has an overture, an intermission, and an entr’acte and still runs under two hours, but Sydney Pollack’s revisionist Western pumps up the iconography of a self-styled “mountain man” who enters the Rockies as a loner and leaves it as a legend.
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But if you’re looking for stories of mountain men fighting extreme temperatures, hungry bears, hostile natives, and/or each other, there are plenty more examples below.
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It’s a silly film that I’ve kept off deliberately.
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Gravity) (2) There were no limits on how many Werner Herzog films could make the list, so I’ve gone with two, plus a documentary about him (3) The Revenantwill seem like a conspicuous absence, but rest assured that’s not an oversight. The Day After Tomorrow), and nothing set in outer space (e.g. This isn’t Alive.) Though The Mountain Between Us may not be the most sterling example, its Man Versus Nature theme plays to the strength of a medium that can wordlessly and powerfully express the pitiless beauty of the wild.īefore getting into 25 better examples of Man Versus Nature films, a few ground rules: (1) The action has to take place on the planet Earth in recognizable conditions, so no post-apocalyptic scenarios (e.g. But can they survive each other? (Yes, of course they can.
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They have to survive the brutal cold, the threat of starvation and dehydration, and a pesky little mountain lion. In the new romantic survival drama The Mountain Between Us, Kate Winslet and Idris Elba play strangers on a small chartered plane that crashes into snowcapped mountain peak, far from civilization. Photo-Illustration: Maya Robinson/Vulture