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Refer to it as the Hanks magic. Scientifically ascribe it to his everyman appeal. He himself modestly attributes it to outlandish luck. But at this juncture even Aunt Ida has taken note that all three movies on her hit list star Tom Hanks. And two of them were directed by Robert Zemeckis (Steven Spielberg directed Saving Private Ryan). But regardless of the explanation for this phenomenal confluence of motion picture talents, there's no denying that Mr. Hanks has whatever it was that Gable, Fonda, Tracy and Stewart had. And if there was ever any doubt that he had whatever it is that Hoffman, Pacino and De Niro have, this performance entertainingly dispels that misconception. In Cast Away he puts it all together to etch an exquisite, single-handed essay on the human condition.
Because director Zemeckis' fine sense of suspense is key here, it would be a misprision on the critic's part to recount as much story line as one would allow with a conventional film. But if you hear that this tale of survival is the closest a big studio gets to making an art film, don't be scared off. Likewise when you learn that out of its two and a half-hours, at least 100 minutes are spent observing the castaway alone on an island. (Well, almost alone. There's Wilson, whatever he, she, or it is. You'll see.) But don't worry. Hanks communicates. This isn't Marcel Marceau does Gilligan's Island. For despite all its fine subtleties, heady symbolism and poetic nuances, there isn't a dull moment in this tension-filled saga.
It won't be giving anything away to note that it all starts with as realistic a plane crash as you're likely to see in a motion picture. The terrifying dive into the Pacific could do for airline travel what Jaws did for the seashore. It occurs only a few hours after workaholic Chuck gives the love of his life an engagement ring. His relationship with Kelly Frears, played quite convincingly yet only briefly by Helen Hunt, is the major part of his raison d'être. Ironically, he told her that he'd be "right back." The vividly graphic accident lends credence to the thoroughly absorbing events that follow.
Marooned on an island, Chuck begins the business of survival and tackles the ultimate challenge with the same tenacity that made him a valued shipping executive. Washing ashore with him are a few FedEx packages. The ever-present company logo, a symbol of civilisation's hurried pace, serves as a humorous counterpoint to the stark situation at hand. And yet it's a little curious. For though we're never quite sure how big a role FedEx really played in the making of this movie, our inquisitiveness is much aroused by the inordinate amount of product mention. Granted, while FedEx allows itself to be the brunt of an elaborate running gag, they virtually land themselves a co-starring role in a major motion picture. There's plot-important stuff in those packages. But just tell me, was UPS approached?
In any case, one can certainly understand why they wouldn't mind having a dynamo like Chuck Noland representing their firm. He is inventive, undaunted, and heroic of spirit. Yet he is also very human. Thus, his fears become our fears. And therein lies the greatest success of this film.
Cautiously, seat-edged, we question and anticipate with him. We are intrigued. What would we do? Are there unfriendly natives on the island? How about wild animals? What about food and shelter? Is there a way to escape? And last but not least, what will nourish the heart and mind in these forlorn circumstances?
Bottom line, Chuck is much more than a representative for a package shipping company. He is an emissary of humankind. And so we're cheering for the home team. If he survives, it reaffirms our rightful, albeit dazed and confused, place in this world.
Only an ending that can't match the dramatic artistry that preceded it keeps this film from being picture perfect. Even FedEx's infomercial-like presence eventually earns its droll part in the doings. But after all the highfalutin philosophy is said and the derring-do is done, this is a heartfelt love story. And how it concludes is dismaying. For in fashioning the finale, screenwriter William Broyles, Jr. falters. He gets lost somewhere between stark reality and soap opera sensibilities. And while the compromise he settles on may be plausible, it's just not satisfying.
Still, don't let that deter you from seeking out Cast Away. Even if you see only one film a year, this is it. Just ask Aunt Ida.
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