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The couch has colors suggesting the hues of the canyon Aron was trapped in. See more » Sometimes (even oftentimes) in the world of film criticism, the word "triumphant" is thrown around. He always leaves a note to say where he has gone." During these captions, the cinematographer shows us the real Aron and Jessica, who are sitting silently on a couch outdoors, on green grass near a stand of green trees.The Lenni Lenape Native Americans tilled the soil, hunted in the woods, and fished in the rivers and streams before the Dutch arrived in the early 18th Century.The Dutch settlers, though, left an indelible mark on the area.Rourke and Basinger make a steamy couple and the ending and the events that unfolded in the film lingered with me long afterwards and left me thinking for a while.This is one film that actually seems to have gotten better with time.Will they be the last two people he ever had the chance to meet? Instead of letting the confined space limit their camera techniques, they tackle every possible angle, often bringing the audience uncomfortably close to the action. Now, after watching 127 Hours, I feel I've never used "triumphant" in the correct critical context before.
The combination of the dark humor, varied cinematography, and Franco's impressive facial dexterity pitch the scene perfectly; it's a lighter moment that is nevertheless grounded in the gravity of the situation.Complementing and combining Chediak and Mantle's beautiful shots is Jon Harris's dynamic editing.The use of split-screen is particularly brilliant, put to use in innovative ways throughout the film: the bookend sequences mark Ralston's departure from and return to society, and the technique in general represents the multiple facets of a seemingly simple tale. When the story, images, and characters pop off the screen and go with you, and the lasting impression left on you means something more than having killed a couple hours in a big, dark room with a bunch of strangers. When it's more than art, entertainment, or a combination of both.