Chapter 71: Independent film
Since the emergence of "Pulp Fiction" in 1994, independent cinema has gracefully ascended to the realm of sophistication, solidifying its status as an undeniable force within the film industry that cannot be ignored.
Amidst the escalating formulaic tendencies of major production studios, characterized by a dearth of innovative and enterprising spirit, independent cinema's resolute advancement and daring authenticity have gradually become the driving force propelling continuous evolution in the world of film. From "American Beauty" to "Brokeback Mountain", and then to "No Country for Old Men", independent films have garnered increasing attention, with each passing year unveiling a batch of exceptional works that evoke admiration from academia and critics alike. Take, for example, the recent "The Hurt Locker".
"Buried" stands as a quintessential example of independent cinema.
The film's story is astonishingly simple, recounting the tale of an American construction contractor who, while working in Iraq, falls victim to an attack and awakens to find himself entombed in a coffin, cruelly buried alive. How can he possibly escape such a fate?
The film's boldest element lies in its entirety being shot within the confines of a single coffin, devoid of any other visual elements. From coffin's inception to its conclusion, the external world and character dynamics are delineated entirely through dialogue, heaping the burden of storytelling upon the shoulders of the actors.
This demands not only an almost draconian level of excellence in scriptwriting and dialogue, to pack a plethora of information into a confined space, but also to manage the synchronization of events both inside and outside the coffin. How the events leading up to entering the coffin and those occurring afterward are conveyed, how the true background of character relationships is revealed amidst dire circumstances – these are all intricate challenges. Moreover, it presents an incredible test of acting prowess, as actors must navigate a spectrum of emotions within the extremities of panic, fear, and despair. Survival is their sole instinct, yet they must authentically display the peaks and troughs of their emotions, transporting the audience into the enclosed confinement, preventing monotony from prolonged uniformity of scenes and averting the tedium of constrained camera angles.
In truth, works that narrate stories through a sole protagonist are not uncommon, but those that truly feature only one character on-screen throughout, like "Buried", are rare gems. This is undoubtedly an arduous challenge, its enormity bordering on the unimaginable.
A comparable theme exists in "127 Hours", another solitary performance, yet its execution is somewhat opportunistic. This piece, directed by Danny Boyle, focuses on the miraculous survival of Aron Ralston. During a hiking expedition, Aron becomes trapped in a remote canyon after a fall, pinned under a boulder. He remains stranded for five days, a staggering 127 hours, ultimately severing his own arm to escape.
However, Danny expands the film to incorporate antecedents and consequences, not only detailing Aron's preparations before setting out and his moments of camaraderie while hiking but also exploring rescue and redemption post self-amputation, interspersed with flashbacks to Aron's interconnected life.
One could say that while certainly a solo performance, this was a one-man show with multiple participants.
In comparison, works like "Buried", which unfold entirely within the confines of a coffin, are more experimental, imbued with a stronger independent spirit, and pose a greater challenge. Paradoxically, these aspects are also the most valuable facets of cinema.
When directing "127 Hours", Danny Boyle had already earned a place of honor in the pantheon of accomplished directors. Not only had he directed independent classics like "Trainspotting", but he had also claimed an Oscar for Best Director with "Slumdog Millionaire". Nonetheless, Danny was still hesitant to embrace a format entirely confined to a single scene. Everyone knew that such an approach risked monotony, tedium, and banality, leaving filmmakers vulnerable to scathing critique from audiences and critics alike.
Yet "Buried" achieved the seemingly impossible.
The film's director and screenwriter were both fledglings in the industry. Director Rodrigo Cortés, who had predominantly worked in the realm of short films prior, was acclaimed for his ingenious concepts, albeit in a distinct medium. Short films and feature-length works were two disparate systems, much like how a sprinter might not necessarily excel in long-distance races. "Buried" marked only his second venture into full-length filmmaking.
As for the screenwriter, Chris Sparling, he was virtually an unknown newcomer. "Buried" marked his maiden foray into crafting a formal screenplay.
These two individuals, with limited experience, managed to produce an astounding masterpiece within confined space! The film captivated its audience, leading them through the plot's progression, inducing empathy towards the characters' fates. It allowed viewers to genuinely experience the intricate ebbs and flows of human emotions: agony, terror, panic, tranquility, self-denial, violence, fear, hope, sorrow, pain, anger, fatigue, self-mockery... culminating in ultimate despair. All of this turned the viewing experience into a torment yet simultaneously a pleasure.
In comparison, "127 Hours" presented a multifaceted portrayal of a character, extolling the indomitable spirit of humans amidst life-and-death extremities. This was not merely inspirational; it delved further into Aron's familial bonds and motivation, thereby unearthing deeper layers of the film's core. On the other hand, "Buried" concentrated on depicting the struggle and suffering on the brink of death, accentuating the amplification of emotional nuances within the confined space. Thrills and dread persisted throughout. This undoubtedly marked a significant breakthrough for experimental cinema but lagged somewhat in terms of thematic depth.
One could interpret it as such: "127 Hours" was crafted for award seasons, while "Buried" was the director's pursuit of uncharted territory. There was a time when Danny Boyle showcased sharpness and audacity in "Trainspotting," gradually fading away as he transitioned from independent to mainstream. "Buried", however, truly exemplified the acumen and audacity of independent cinema.
This distinction becomes evident in the treatment the two films received at year-end award ceremonies. "Buried" was nearly overlooked, receiving no nominations, let alone any awards. On the other hand, "127 Hours" received acclaim, securing multiple nominations including Best Picture, Best Actor, and Best Adapted Screenplay at the Oscars.
Of course, a significant part of this contrast owed itself to the male lead of "Buried", Ryan Reynolds.
This Canadian heartthrob actor was often more recognized for his handsome looks. Works like "The Proposal", "Green Lantern", and "Deadpool" established his presence in Hollywood. His captivating appearance sometimes overshadowed his acting efforts, and many even perceived him as expressionless.
In reality, Ryan had garnered positive reviews during the early stages of his acting career. His exceptional performances were visible in works like "Buried" and "The Voices". His acts alternated between cuteness, satire, and sensuality, yet always contained a touch of madness and vulnerability concealed beneath the surface. This underlying sensitivity often resonated with audiences. Perhaps not a top-tier actor, he certainly had the tools for the right roles.
"Buried" was precisely one such work.
Within "Buried", Ryan Reynolds authentically portrays the confusion, struggle, and torment that humanity breeds in the face of extremities. Complex yet fragile emotions firmly grip the audience's psyche, enabling them to tangibly empathize. It must be acknowledged that Ryan adeptly fulfilled his role, becoming the pivotal piece in the puzzle that is "Buried".
However, Ryan's performance could hardly be considered astounding. If his performance were placed within "127 Hours", it might suffice, since "127 Hours" contained a plethora of flashbacks and scenes to complement the character's image, allowing the audience a more direct experience of character depth. In contrast, "Buried" lacked such components, which resulted in Ryan delivering emotions with precision while lacking extension.
One could perceive it as such: Ryan delivered the emotions requisite for a thriller but didn't fulfill the narrative demands of a drama. For instance, during the film, when he calls his wife, what transpired between them? When he contacts his colleague, the colleague's attitude hints at his character's problematic behavior, and when he seeks assistance from governmental authorities, his attitude remains somewhat static, lacking distinct psychological fluctuations. Lastly, in the direst moment, what does his dying utterance convey?
"127 Hours" pieced these puzzles together through reminiscences, whereas "Buried" relied on Ryan's performance. When he couldn't fully achieve this objective, it compromised the overall quality of the film.
In truth, in Renly's view, "Buried" isn't just a confined-space thriller; it can be further explored. One aspect delves into the crisis of the American middle class, the conflicts between the protagonist and his wife, the impetus behind his decision to work in Iraq, and the midlife crisis he faced before the accident. These details influence his later call for help, especially the reactions refracted in the midst of despair.
Another aspect is the condemnation of capitalist bureaucracy. On one hand, there's the hypocrisy and evasiveness of the protagonist's company, valuing profits over lives, and on the other hand, the constant deflection and inaction of government departments. The resounding slogan "Never give up on any citizen's life" contrasts starkly with their lackluster actions, illustrating how the core ideology of prioritizing interests parallels the true motives behind the Iraq War.
This film's depth far surpasses initial expectations in terms of insight and watchability. Nevertheless, in comparison to "127 Hours", the director and screenwriter of "Buried" lacked experience, placing the entire burden on the actor. If Ryan's performance failed to attain the necessary heights and depths, the overall quality of the work naturally plummeted.
In fact, this is a characteristic trait of independent cinema - under the influence of strong experimental tendencies, success and failure are equally possible.
For Renly, however, this was undoubtedly a perfect alignment, a long-awaited acting opportunity - a chance to immerse himself entirely in performance, to truly challenge his own limits, to explore the boundaries of his talents, and to vividly showcase his acting skills!
CREATORS' THOUGHTS 
Shallowman
Shallowman Hummayah Hummayah, 71th chupster is here, and.... emm... okay
"Pulp Fiction" - "Vulgar Novels"
"No Country for Old Men" - "No Place to Call Home"
"The Hurt Locker" - "The Demolition Squad"
"The Voices" - "Buried Words"
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