****
Hollywood’s long-lasting partnership with Stephen King and his many, many works of fiction is impressive.
Since 1976, King’s stories have been adapted into films, beginning with Brian De Palma’s adaptation of ‘Carrie’, published two years prior. Almost 50 years have passed, and both parties continue to co-exist in harmony. King’s output is as consistent as ever with film and TV adaptations returning mostly successful results.
It makes sense that a Stephen King story such as ‘The Long Walk’, released in 1979, has taken this long to get the movie treatment. Its titular concept, in theory, does not lend itself to being particularly effective as a cinematic experience. Director Francis Lawrence has a history with young adult dystopian stories however, most notably the Hunger Games franchise, so I was intrigued to see his approach to a much more contained story.
In an undisclosed time, presumably after the second world war, the United States seems to be experiencing Great Depression-like issues with rampant poverty and a general feeling of hopelessness.
A competition known as “the Long Walk” gives one young male from each of the 50 states the opportunity to earn a fortune beyond their wildest dreams. All they must do is be the last one walking, and not fall foul of the strict rules imposed by their militaristic overseers. Not only will they gain unimaginable riches, but the winning contestant will also be granted one wish of their choice.
I was really impressed by how well this film is executed on a variety of levels.
Dystopian stories like this can often be burdened by an exposition of world building, supposedly necessary to make the audience aware of context and character backstory. The Long Walk wastes no time in dropping you into the action.
What most alerted me to this film, and I assume others, was the central, fascinating concept of a deadly endurance test. I was curious to see how the film would maintain momentum from beginning to end.
In the first scene, you are instantly given a reason to care. A worried mother reluctantly drops her son off at the starting point. Through tears, she gives him his favourite snack as a token of her love. This simple prologue instantly provides the emotional stakes needed to engage an audience. The performances from Cooper Hoffman and Judy Greer are suitably understated to make this situation feel somewhat relatable.
Multi-layered
This is just the first example of this film’s success at presenting a wide emotional range. In the same way that Stand By Me’s (1983 ) group of friends were both immature and emotionally sensitive, attention is given to making the young men multi-faceted; capable of the usual friendly banter, but also clearly harbouring deeper concerns, both spoken and unspoken. Each character is distinct, and there is a satisfying blend of conflicting personalities fuelling the suspense.
This film follows a slasher horror formula: instead of characters being picked off because of their decisions, the 50 contestants are prey to their own physical and psychological limits. This idea leads to some devastating moments as characters, aware of their bodies fighting against them, desperately beg for mercy as they are ruthlessly punished for failing to abide by the rules.
Some of these scenes seem emotionally manipulative, with music swelling and the tragedy of the situation being drawn out, but there is a visceral effect to the violence that leaves you with a gut-wrenching feeling. The uncompromising violence and the apparently dehumanised military executioners, traps you into these boys’ never-ending journey. Escape seems impossible. It might be the most claustrophobic outdoors film I have ever seen.
Hoffman and David Jonsson’s performances cultivate an endearing friendship that the film is relying on to make the audience care. Charlie Plummer – slightly older and more experienced than the rest of the cast – caught my eye with what seems like a predictably shallow, antagonistic character portrayal, but that becomes increasingly layered as the film progresses.
There is a consistency to the atmosphere of the film and how it wants to make you feel. This book was released in 1979, but the mysterious plight in which the US finds itself in, feels timeless. The desolation, poverty and hopelessness feel symbolic of the disillusionment and division of the current American landscape.
There are no easy outs or easy answers in The Long Walk, and it never strays from that notion.
All you can do is keep going, endure and hope that something good will come at the end of it.
Now playing in cinemas across Galway
