Regie:
Danny BoyleBesetzung:
James Franco, Amber Tamblyn, Kate Mara, Lizzy Caplan, Clémence Poésy, Treat Williams, Pieter Jan Brugge, Amy Savannah, Kate Burton, Lonzo Liggins (mehr)Streaming (5)
Inhalte(1)
Aron Ralston (James Franco) ist ein erfahrener Climber und Biker, der in seiner Freizeit eine atemberaubende Canyon-Landschaft in Utah durchquert. Auf seinem Trip trifft er auf zwei Frauen, die vom Weg abgekommen sind und sich nun erleichtert Ralston anschliessen. Dieser begleitet die beiden ein Stück durch den Canyon und wird später zu einer Party eingeladen. Nach dem Abschied nimmt Ralston sich vor, eine der Canyon-Spalten zu durchklettern. Bei einer besonders engen Stelle hält er sich an einem Felsbrocken fest, der sich daraufhin löst und zusammen mit ihm nach unten stürzt. Nach kurzem Fall wird Ralstons rechter Arm zwischen dem Felsbrocken und der Canyon-Wand eingeklemmt. Unfähig, sich zu befreien, versucht er vorerst, den Stein zu bewegen. Als dies misslingt, will der den Fels mit seinem Taschenmesser zerkleinern – ohne greifbares Resultat. Da niemand seinen Aufenthaltsort kennt und er keine Verbindung nach aussen hat, kann er nicht auf Hilfe hoffen. Nach einem Tag stellt er fest, dass seine Hand bereits abgestorben ist. (ProSieben)
(mehr)Kritiken (15)
Nach einer gewissen Zeit erhöhe ich die Bewertung auf "subjektive 5“, weil der Film meine Kragenweite ist. Danny Boyle beweist hier wieder seine Originalität und die Fähigkeit, durch audiovisuelle Spiele praktisch jede beliebige Geschichte spannend zu erzählen. In einem Kammerdrama nach wahren Begebenheiten mit einem Protagonisten nutzt er starke Kamerafilter und beschleunigte Aufnahmen. Er hat keine Angst, das Bild in mehrere Teile zu gliedern oder ständig Flashbacks hinzuzufügen. Das sind Mittel, die in einem solchen Genre unpassend und störend wirken könnten. 127 Hours hat dank ihnen aber einen prima Schwung. Der Film ist nie langweilig und gleichzeitig hört er nie auf, sich begeistert auf den psychischen Zustand der Hauptfigur zu konzentrieren. Ein ausgezeichneter, fast außergewöhnlicher Film, der im Finale für Glückstränen sorgt.
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After the third screening, it's clear to me: this film has matured and offers much more than a first superficial viewing might suggest. What hightlights it above all is its playfulness. It’s packed with so many directorial ideas and visual tricks, visual and sound games (functional flashbacks, image splitting, refreshingly chosen music) that watching its atypical narrative is a joy – this despite the slightly morbid climax. James Franco is a great actor in this film, and Danny Boyle is a genius.
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Yeah, Boyle and Franco probably did the best they could under the circumstances, but the fears I had before the screening turned out to be true: the premise is good for an autobiography, but not for a feature film. To allow the camera to leave that unfortunate wedged guy at least for a while, the script includes flashbacks and hallucinations that are pretty annoying and pathetic, though I understand the dramatic reasons behind them. But, considering the possibilities the creators had, the film is very brisk and energetic and Boyle again shows his strength: the blend of music and images. The ending (when the “action” is behind) managed to arouse some emotions. However, I still have mixed feelings about 127 Hours and I would love it if next time Danny chose more story-rich material. 7/10
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This is Touching the Void in a more cinematic, but less emotional package. Boyle cuts back on the poignant sequences and instead serves up a minimalist tale of one self-centered fop for whom a smaller rock was waiting to show him that ego isn't everything. The cinematography, music, editing, and especially the acting are incredibly captivating for the entire ninety minutes, even if all of this can be summed up in a single sentence. Maybe this is how you recognize good filmmaking, and maybe this is what works better than all the sad sights from the slums. But then again, it doesn't collect gold-plated statuettes.
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Es kann eingewendet werden, dass 127 Hours keine große Überschneidungen hat und schlichtweg nur ein postmodern stilisiertes Zeugnis des Mutes sowie des Wunsches ablegt, zu überleben. Man kann hier auch einwenden, dass die unterschwellige Betonung der Schicksalshaftigkeit sowie einer wundersamen Vorahnung nach melodramatischem Kitsch riecht. Un beanstanden könnten wir da vielen, jedoch worauf es wirklich ankommt, ist Erfahrung. Schmerz, Hoffnungslosigkeit, Furcht sowie das hierüber triumphierende animalische Verlangen, zu fliehen und zu leben, koste es was es wolle. Und gerade rohe Erfahrungen hat 127 Hours bis zum Abwinken. Daher ist es ein außergewöhnlicher Film und eine der intensivsten Schmerzerfahrungen, die ich je in einem Kino erlebt habe (Gibson und seine biblische Exploatation sollten sich wirklich einmal anschauen, wie es "richtig" gemacht wird).
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Desire for adventure, desire for solitude, desire to live. Danny Boyle translates a relatively trivial story into a highly personal level, where no hallucination is purposeless and no flashback empty. With the breathtaking James Franco and a visual that never rests, 127 Hours becomes a magnificent spiritual cleansing and also the most intimate story. It is simply a difficult task that passed with flying colours and made me, despite the inconspicuous warning, desire to rush somewhere headlong, making it perhaps the biggest surprise of the season.
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I didn't waver for a minute over any rating other than 5 stars. James Franco played his role perfectly, movingly, and naturally. My hand ached for him from the beginning and my heart was pounding until the end. The imaginative and, most importantly, original ending only made me believe that this film is 100%.
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This is not a movie about a guy who got his hand trapped by a boulder, it's a much deeper exploration of a person, and Boyle primarily shows that even though we're now dominated by technology, we still are capable of… we are more than that. The way it shows this is, to put it simply, technocratic. You want an example? Cram a small camera into a bottle of water and film someone (James Franco) drinking it. Even the Ralston character gravitates towards technology, the footage we see in the trailers, the way he takes pictures of everything and everywhere (although the last photo shows us the incredible shift that Aron’s character undergoes over the course of the movie), which contrasts nicely with his love of nature. Two worlds clash here in this unique struggle for survival. SPOILER ALERT: But honestly... what were the chances that something like this could happen and the protagonist would survive, with his arm hacked off, and write a book about it? Speaking of cutting off arms, that's one of the most intense scenes (this year/last year) in recent times. A nerve is a particularly sensitive issue. Which reminds me, don't take your gentler half to this movie, one lady fled from the cinema just the protagonist ran out of water and started drinking his urine. Franco, by the way, deserved that Oscar nomination (I wish he'd won it; it would probably have been the first time ever that the host won) he deserved it like few others, without his performance, the entire movie would have failed. Ralston is a bad-ass dude who "can do everything on his own", and while that plays an important role in his ability to escape, it's also about his inner transformation, which Franco pulls off so naturally that you might not even notice. And beware, you won't feel sorry for him, absolutely not, but maybe some of you, like me, will imagine yourself in his place. P.S: That exact multi-tool knife is lying on my desk at home. Oops.
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Wenn ich mich schon für einen Tod durch Langeweile durch Jesse Eisenbergs Botox-Gesicht entscheiden muss, dann doch lieber die Epiphanie des egomanischen James Franco, wenn es denn sein muss. Und ich bevorzuge Mr. Trainspotting gegenüber Mr. Sieben. Und wenn ich Pacco wäre, würde ich schreiben, dass mir die Aufnahme aus dem Inneren der Flasche gefällt, als Franco versucht, den Rest des Wassers herauszulecken.
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Danny Boyle is a good director and this adrenaline bite is far more impactful than it might seem at first glance. He turns a a banal storyline into a psychedelic affair of the highest caliber. The desire to survive is beautifully displayed in full force. From minimal resources, he achieved the maximum outcome; this film is definitely worth seeing. It is a simple, yet highly watchable affair.
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Vierundneunzig Filmminuten… Und keine von ihnen ist langweilig gewesen… Die literarische Vorlage habe ich in einem Atemzug gelesen. Ich war gespannt, wie sie Danny Boyle in einen Film umgewandelt hat. Ich muss sagen, dass er das ausgezeichnet gemacht hat. Es ist mir nicht klar, warum die Handlung am Anfang des Films so sehr vom Buch und Ralstons echter Geschichte abweicht (das Baden mit den zwei jungen Frauen ist eine rein filmische und völlig überflüssige Ergänzung und auch das einzige Minus). Alles, was danach kommt, ist aber sensationell; dank Franco glaubhaft und dank Boyle durchgehend einfallsreich (es ist unglaublich, in wie viele Positionen man die Kamera in einem so engen Cañon stellen kann). Der Film sieht großartig aus, er hat auch einen ausgezeichneten Soundtrack. Ich bin mir sicher, dass ich ihn nicht so schnell vergesse.
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A very suggestive and unpleasant film, which probably cannot be faulted too much within the director's vision. There were moments when I was bored, and overall, 127 Hours didn't blow me away, but at least for the final act, for James Franco and for the very original and bold execution I can't go below 4*...
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I've got a great idea for a movie – Othello spends long days and hours talking himself into watching something where Franco fingers a rock for five days and then saws off his paw with a can opener. Fortunately, Boyle has conceived of the problem as a visual cabaret, with a damn near biblical digital storm sweeping over the landscape and Scooby-Doo hiding around the corner. Surprisingly, 127 Hours isn't that physical a film, though the urine-drinking scene is so suggestively shot (the slowly rising level in the macro tube) that a severed hand can't ruffle us Southern exploitation-soaked viewers anymore. Admittedly, I was inclined to chew off a limb at times out of boredom, but that it was only sometimes and I’m saying it about a film with this kind of premise is a sign of perhaps the highest quality.
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The film that made me dedicate even more attention to Boyle's films and also made me like Franco since then. This is a film that shows that life can simply write stories that no one would really believe as fictional. It sounds stupid that the guy got stuck because a stone fell on his hand, but considering that it happened and what the consequences were, this is truly an event that leaves an impression on the viewer. Filmed interestingly enough to keep something happening, even though nothing really happens for a long time.
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It is admirable how Danny Boyle managed to create a truly thrilling, highly sensitive, and ultimately slightly philosophical film in such a limited space, which he has enriched with numerous visual flourishes, without which the whole work might have made a slightly bland impression. I liked the references to the inevitability of fate, to the advantages/disadvantages of too much individualism as a philosophy of life (man gets the opportunity to blend in with nature in a wonderful way, but the price he has to pay in the end is indeed drastic). James Franco's performance needs no further comment, he and Danny Boyle are in it 50/50.
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