Why ‘Cast Away’ is Robert Zemeckis’ Masterpiece You Can’t Miss!

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#4 in my ranking of Robert Zemeckis films.

In essence, this film by Robert Zemeckis is his masterpiece. It features a solitary character grappling with a challenge, equipped with limited resources that he skillfully employs, coupled with extended scenes. This movie represents the pinnacle of his cinematic journey, a culmination of years of expertise. The young Zemeckis may not have been capable of capturing the tranquility of Tom Hanks’ isolated island life as effectively as he does in this film.

Chuck is a FedEx worker responsible for setting up and maintaining branches of the company overseas. He initiates operations in Moscow and often emphasizes the importance of time due to its relentless nature. His work schedule is strictly regulated by the clock. He has a girlfriend, Kelly, based in Memphis, Tennessee whom he cherishes dearly but struggles to spend enough time with because of his job demands. On Christmas Eve, Chuck receives a call about an urgent issue in Asia, forcing him to immediately board a flight, leaving behind a potential proposal hidden in a gift wrapped box as he embarks on another work-related journey.

In the film Cast Away, it’s no surprise that the crash sequence is exceptional, given Robert Zemeckis’ exceptional directorial skills and technical prowess. However, this particular crash scene stands out as one of Zemeckis’ finest pieces of work. The sequence expertly builds tension, starting from the jolt that awakens Chuck, through the portrayal of the storm raging outside, the quick glimpse at a screen showing their off-course navigation, the escalating turbulence, the sudden explosion, the loss of cabin pressure, the crash, the sinking fuselage, and finally, the raft surfacing with Chuck clinging onto it for dear life. As the camera slowly pulls back, revealing Chuck as a tiny figure on a vast ocean illuminated only by lightning strikes, we are immersed in the chaos without losing sight of Chuck or the broader context, ensuring that the unfolding action remains clear while providing us an emotional connection to Chuck’s plight. This is a masterful sequence that flawlessly combines visuals and sound to create a compelling viewing experience.

On that island, the movie intentionally undergoes a significant shift. Initially, it’s filled with noise and bustle, with Chuck frequently leading conversations given his clock-bound lifestyle. However, when conversation partners vanish and time loses significance, the atmosphere becomes starkly different. Plunging viewers into this transformation after half an hour of contrasting narrative styles heightens the sensation of isolation and loneliness that Chuck experiences as he calls out fruitlessly to nobody.

Among other activities, Chuck gathers floating packages on the shore, categorizing them by destination, in a bid to survive. Despite the limited progression, his quest is captivating due to its grounded realism. The challenge of creating fire, an action we often overlook, becomes a source of tension when raw crab legs prove inedible unless cooked, and Chuck’s efforts to ignite a spark for the first time reflect both quiet determination and explosive frustration.

In this movie, we’re introduced to another significant character – Wilson, the volleyball. Essentially, Wilson serves as Chuck’s conversation partner instead of him merely conversing with himself. The development of Wilson is a clever way for Chuck to channel his energies. After an accident involving fire sticks, Wilson comes to life, symbolizing someone Chuck can converse with, clarify his thoughts, and inform the audience about Chuck’s intentions. Emotional ties to Wilson arise primarily from Chuck’s desire for companionship beyond the sand and trees that surround him. As Chuck’s sole companion for four years, Wilson holds significant meaning for him. Since we empathize with Chuck’s predicament, we can comprehend his emotional attachment to a blob of blood on a white volleyball – whether or not we share this feeling, we can certainly understand it.

Over the span of four years, there’s a noticeable change in Tom Hanks’ appearance between the two halves of the film. Production halted for an entire year so that Hanks could lose weight for his role, but his transformation went beyond just physical changes. Hanks was nominated for an Oscar for this performance, and rightfully so. The outgoing and sociable character undergoes a significant change over those four years. On the island, he becomes more reserved and anxious. Upon leaving the island, where he once fit in effortlessly, he now appears timid and insignificant compared to his previous self. A man who thrived in crowded conversations now seems uncomfortable to the point of wanting to disappear, yet he’s too mild-mannered to make a move about it. The personal transformation is far more striking than the physical one.

In this rendition, the struggle to leave the island serves as the central plotline that Zemeckis was well-versed in, making it the quintessential Zemeckis movie. The objective is the main focus for such an extended period. Our character, Chuck, contemplates utilizing a half of a port-a-potty that reaches his shore as a sail. However, he only has a few months to create the necessary rope, construct the raft, stock it, and set sail before the weather becomes unfavorable until the following year. The intrigue lies in the fact that this journey is meticulously executed due to a clear goal, high stakes, and a relatable protagonist who we can support wholeheartedly. The blend of on-site filming and special effects creates an authenticity that makes the entire production appear genuine.

The trailer for the film revealed its climax, making it explicit that it was doing so. Sometimes, trailers display scenes from the later stages of a movie, though viewers may not recognize this in the context of the trailer (as seen in the case of Eastern Promises, where the final shot of the entire film is shown in the trailer). It was evident that the trailer was disclosing all crucial details. Director Robert Zemeckis justified this move as a marketing strategy, drawing on research indicating that audiences prefer knowing exactly what they’re signing up for before entering the theater – using McDonald’s fast food as an analogy (he could have alternatively mentioned popular police procedurals like CSI). This approach frustrated some critics like Roger Ebert, who struggled to evaluate the movie and its conclusion independently from its marketing.

So, let me talk about the ending and why it’s great.

After my harrowing experience on the island, I’ve returned a changed man. Time no longer controls me, but my love for Kelly remains unchanged. It’s been over four years since I left her, yet she was always my constant in a world without time. However, time continued to tick for everyone else. Kelly moved on, marrying and welcoming a daughter into the world.

In the past, I was so engrossed in my work that I never found time for Kelly. Our schedules were like two different books, requiring negotiations just to find a moment when we could meet again when I was called away for my fateful flight to Asia. Now, back in Memphis, I’ve learned the true value of time, but unfortunately, it’s too late for me to have what I want most – Kelly. Had I prioritized her and stayed home on Christmas instead of going to Asia, we could have been together. But once that decision was made, there was no turning back. Now, I must move on, just as she did. This film’s central theme resonates deeply within me: the fleeting nature of time and the importance of cherishing relationships while we still can.

The movie “Cast Away” showcases remarkable technical prowess, a trait that’s become expected from director Zemeckis. However, it’s not just technically impressive; it’s thought-provoking on a deep thematic level and displays cinematic maturity. Zemeckis has truly developed into a confident filmmaker. I do hope he avoids getting too enamored with strange computer animation in future projects, as that could seem out of place.

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2025-01-22 00:30