Nice to see you again, fans of the cinema! This is the Face-Off, where two movies enter and both movies leave, but one leaves in a slightly better light. Yes, here we take two competitors and compare their key elements and see who comes out the champion. It's a fierce competition that results in blood, tears, and online arguments, but the more brutal the battle, the sweeter the victory.
Tom Hanks is America's favorite man, and this week the actor has a new movie coming out where he plays another one of the world's favorite sons — Mister Rogers — in the movie A BEAUTIFUL DAY IN THE NEIGHBORHOOD. Already touted as another fantastic performance from the actor, and one of his very best in years, we will use this opportunity to look back at two of his most memorable performances in two of his biggest movies — FORREST GUMP and CAST AWAY.
The man took on two very different and two very challenging roles for these movies, and beyond his performance, they showcase the craft of director Robert Zemeckis, composer Alan Silvestri, and are both brimming with big beating hearts that may just reaffirm what it means to be alive. But enough dilly-dally, it's time to crack open this box of chocolates and see which tender tale of Hanks is worthy to hold the crown.
On the sad, world-stopping day when Tom Hanks exits this world, clips of his performance as Gump will dominate his tributes more than any other. Earning him his second Best Actor trophy at the Oscars, it will go down as his most well-known role – giving warmth and charm to the simple-minded Southerner with no flaws and an abundance of bravery and lessons from Momma. But, is it his best work? Out of his many terrific performances, would I call it his best or even the better of these two? When looking at CAPTAIN PHILLIPS, PHILADELPHIA, A LEAGUE OF THEIR OWN, and yes, CAST AWAY, I would say no. Gump is written by Roth as such a pure, un-taintable, simple-minded figure that there is no way to approach him other than as a blank slate character with a heart of gold. Hanks – being the immensely likable man he is – has no trouble making Gump an endearing character, and is such a great performer that he draws out subtilities whenever Gump does have moments of reflection or confusion. While not much, some depth to him makes for the more effecting moments when Hanks can draw them out (talking to Jenny's grave). Gump is a simple man, but he’s not played simply. He’s such an endearing character, and what makes him so iconic and linked to Hanks is because there’s no one else who could’ve played him except for Hanks. But as an actor, we’ve seen Hanks push himself so much further, and CAST AWAY is perhaps the best example.
To put it as obnoxiously as I can, Hank’s character may not physically go a lot of places in this movie, but emotionally he takes Chuck Noland on quite the journey. A busy-bee obsessed with the nature of time, Hanks' Chuck Noland lives his life dominated by the schedule and spends not enough time with his girlfriend, Kelly. Hanks shows off more of the likable, everyman qualities that have made him such an American icon in these early moments, but it’s when he gets onto the island that he pushes himself into more challenging spaces. Desperate, lonely, frustrated, enraged, he exhibits in Chuck all the layers of a man who is at the end of his rope at the edge of the world, left only to talk to himself and a volleyball. Not much happens on the island beyond what would make up a survival 101 class, but in Hanks' performance is an endlessly fascinating portrait of a man going through an internal change, faced with few options and becoming humbled in the process. Through it all Hanks crafts a protagonist you can’t help but root for, pushing himself to the physical brink with a transformative performance, crafting a performance where you feel the all of his external and internal turmoil as if you were living them yourself – feeling his frustrations and pains. Hanks works wonders with Chuck in many of the same ways he does with Gump, quietly expressing multitudes even when there’s not much to express, proving in the process that even without words and action Hanks can make you root for and sympathize with a man faced against insurmountable odds, and who comes out a completely changed man by the end. While Gump may go down as his most famous role I think it’s in CAST AWAY where he demonstrates the true depth of his talent – demonstrating immense complexity in incredible human and relatable ways.
Throughout the 80s and going into the 90s Robert Zemeckis made a name for himself with acclaimed, successful adventure movies that remain classics today (ROMANCING THE STONE, BACK TO THE FUTURE), and some that may not be perfect but are incredibly fun nonetheless (BACK TO THE FUTURE sequels, DEATH BECOMES HER). Despite the more dramatic themes, this made him a perfect choice (although not the first) to take on the adaptation of Groom’s novel. To GUMP Zemeckis brought a playfulness and energy that keeps things moving breezily – and even as things feel monotonous the movie is always entertaining in some fashion. No stranger to visual effects, Zemeckis makes use of then-state-of-the-art effects to bring Gump’s journey through history to life, such as showing him meeting various presidents, running ahead of explosions in Vietnam, and addressing a crowd in Washington D.C., with a relatively small amount of people digitally made to appear like tens of thousands. These effects don’t hold up as well, but back then did the trick to get this sweet tale a bit of scope. But what is perhaps seen as the movie’s largest claim to success – the vision of making this film something that goes down so easy – Zemeckis’ approach can’t help but seem more and more dated as the years go by, with the downsides of being as affable and simple as the main character showing major flaws. The intent to show things from Gump’s perspective and to ideologize a certain time period with a blissful sense of ignorance and hope means avoiding the very real issues and challenges that came from the 50s, 60s and onward – favoring more gags and enjoyable pleasures than tackling anything real. Even scenes meant to have some emotional impact can feel flat as Zemeckis tries to keep the pacing go ever-so-fast and onto the next grand, fun moment. In a movie meant to show the power of humanity, the moments of struggle that can give meaning to Gump's successes feel washed over tonally. Vietnam has no bite, his speech on the Mall is cut too short, and only good things happen to Gump when tragedy seems to befall everyone else. Even a character like Jenny is never more than the dark other side of the coin to Gump’s ideal, stumbled-upon life. But it’s all so quirky, so it must be okay! The movie has endeared so long thanks to Zemeckis’ unwavering approach to telling a sweet and charming tale across a large canvas that take more pride in having fun with history than having a responsibility, and that’s something audiences may always want.
With CAST AWAY Zemeckis got into more grounded territory, still delivering on a large, entertaining adventure but one of much more introspection and quiet enlightenment. In tackling a story that deals so heavily in isolation, Zemeckis does a brilliant job keeping things focused on Hanks, a man so wrapped up in his own business that even when he’s with the love of his life he feels somehow lost. That perspective even works for the most intense sequences, such as the gripping crash seen almost entirely from Chuck’s POV (never getting into the cockpit itself or seeing the outside of the plane), sticking close to him as he traverses the dangerous waves. Even the choice to exclude music from the majority of the runtime is a bold move in favor of achieving that sense of loneliness. Did he craft a movie as easily entertaining as GUMP? No, he doesn’t, but it’s a testament to his craftsmanship and trust in Hanks that he can make a movie where so little happens to seem massive in scope and endlessly engaging. He nails the blend between comedy and hardship, and you can see how he tries to get some profundity out of low-key moments (Chuck pulling the “test dummy” with the noose). With GUMP he was busy rushing from scene to scene as his main character floated from moment to moment like a feather in the breeze. Here, a more matured director, he shows skill in restraint, sticking around in quieter spaces to let the impact of key moments have some weight. This extends beyond the island, where he hits all the right dramatic bits to ensure their emotionally gripping and never cloying, as Chuck lets Kerry go and reflects on his whole time on the island during one interrupted take with Hanks. CAST AWAY seemed a more challenging movie to make than GUMP, given the limitations of the story, and what he lacks in showing off some technical prowess he makes up for by getting miles out of his central star and telling a story about the beauty of the world around us in such small, meaningful ways.
Eric Roth’s Oscar-winning script for FORREST GUMP is a pretty huge mixed bag for me. Adapted from Winston Groom’s novel, Roth’s story streamlined a ton of the massive odyssey of Gump and chopped off even more (the man went to space!). What remains is a love letter to the Boomer period of American history, with Gump succeeding at everything he tries across the decades, becoming a star athlete, a decorated war hero, shrimping tycoon and champion ping-pong player – meeting most of the presidents of his lifetime in the process (and seemingly never aging, to boot). Simple to a fault, the entertaining story plays like a dream as Gump glides from one achievement to the next, dishing out quiet wisdoms that remain accessible and thoughtful even today. Recalling a repeated line of his, “Momma had a way of explaining things so that I could understand them,” audiences of all ages can take something from his truth bombs like “Life is like a box of chocolates,” and “Stupid is as stupid does.” The simplicity of it all makes for a canvas that’s easy to be swept in to, including both the epic story and Gump’s personality, for which Roth does deserve some praise. But it’s in that approach where GUMP is both an easy, enjoyable pill to swallow as it is an undoubtedly flawed one. While they each have their quotables, many of the characters around Gump are written thinly – including Gump’s loving mom (as much a beam of positivity as she is), Bubba (who talks about literally nothing but shrimp) and Gump’s love, Jenny. As Gump bounces across American history played like a fairy tale, he talks ceaselessly about Jenny, even though we don’t have much reason to want to love her. Many of their moments are defined by Gump beating the hell out of other abusive men like a good ol’ American boy, with Jenny treating him like the simple but sweet man he is by not taking him all that seriously, all before ditching him, only calling on him in the end when it becomes clear she does need him. We're supposed to empathize with her given her rocky childhood, but Roth's script never gives her opportunities to open up about herself, her struggles, or really much else. More than enough has been written about this flick, but what I’m getting at is that for all its sweetness, wise truths and an unabashedly fun journey, there are basic structures and character developments that range from poorly executed to problematic, resulting in a script that boasts heart and plenty of memorable lines, but has flaws in storytelling that come out more and more on repeat viewings.
Conceived by Hanks after reading about how many FedEx flights go over the Pacific every day – and how many of them could very well crash – the idea was fleshed out further by Zemeckis and William Broyles Jr. (APOLLO 13), who got sole screenwriting credit (as he should having lived on an island like a madman for a short period of time for research). The concept is excellent if the aim is to explore isolation and how that can give you clarity on what’s more important in life. The story takes a man whose life is dominated by work and then strands him on an island where he's able to live (unbelievably) for four years until he eventually manages to get himself off. It’s a survival story at its most bare-bones, and one that pushes Chuck to his limits. It’s a movie driven by the action and very little on outward expression, with the trials of island living humbling Chuck, having little to say other than to his volleyball pal, to whom he gets to unload some aggression and maybe open up to here and there. So much of it hinges on Hanks’ performance with the script being whittled down to the barest essentials to the point where the story doesn’t do much to showcase the ultimate message — that the world is beautiful and you should appreciate everything it has to offer. He figures out how to make fire, fend for himself, and survive, and goes through anything else that would make a man appreciate the world for what it is. In execution, it’s entertaining thanks to Zemeckis and Hanks, but it’s very hard to praise the movie as a triumph of storytelling. Where Broyles wrings out some poignancy is in Noland’s interactions with Wilson, and come the end when he gets to fully reflect on what it all meant in quiet, profound moments. It’s a small story stretched on an epic canvas, and if the story feels stranded at time, it bucks a lot of Hollywood trends that make the story unique in spite of flaws. Come the end, Noland doesn't spew a big lesson he learned and go running back to the people he loved, screaming, “I should've done so much more with you!” Instead, he comes back a more thoughful, quiet man, one who was tested my nature and now takes the time to let it all settle with him. The profundity that comes from Broyles' script is immense on reflection, and one that makes his work rather underrated.
Bits:
Meet Forrest
Magic Shoes
The Elvis Dance
Jenny
Run, Forrest!!
Football Forrest
Jenny and Forrest in the Dorm
Meeting JFK
Meet Bubba
Jenny Sings
Hero Soldier Forrest
Lieutenant Dan's Rage
Forrest's “Speech”
Ping Pong Forrest
New Year's Eve with Dan
Bubba Gump Shrimp
Bye, Momma
Jenny and Forrest's Night
Running
Daddy Forrest
Bye, Jenny
Off to School
Lines:
Forrest: “My momma always said, 'Life was like a box of chocolates. You never know what you're gonna get.'”
—–
Jenny: “Run, Forrest! Run!”
—–
Forrest: “Lieutenant Dan, ice cream!”
—–
Forrest: “I'm not a smart man… but I know what love is.”
—–
Forrest: “Momma said they was my magic shoes.”
—–
Forrest: “Stupid is as stupid does.”
—–
Jenny: “I named him after his daddy.”
Forrest: “He got a daddy named Forrest, too?”
Jenny: “You're his daddy, Forrest.”
—–
Forrest: “You died on a Saturday morning. And I had you placed here under our tree…”
—–
Jenny: “I wish I could've been there with you.”
Forrest: “You were.”
—–
Lieutenant Dan: Have you found Jesus yet, Gump?
Forrest: I didn't know I was supposed to be looking for him, sir.
—–
Forrest: [narrating] “If I'd a known that was the last time I was gonna talk to Bubba, I would've thought of something better to say.
[to Bubba] “Hi Bubba.”
—–
Forrest: “I'm pretty tired… I think I'll go home now.”
—–
Young Forrest: “I'm Forrest, Forrest Gump.”
Dorothy Harris: “I'm Dorothy Harris.”
Young Forrest: “Well, now we ain't strangers anymore.”
—–
Drill Seargent: “Gump! Why did you put that weapon together so quickly, Gump?”
Forrest: “You told me to, Drill Sergeant?
—-
And many, many more…
Bits:
Time Keeping
Christmas in the Car
The Crash
Stranded
The Climb
The Body
Setting Sail
The Packages
Wilson
Fire!!!
Dentist
Four Years Later
Devising the Escape
Over the Waves
WILSON!!!
Rescued
Making Up For Lost Time
Lines:
Chuck: “WILSON!!!!”
—–
Chuck: “I knew, somehow, that I had to stay alive. Somehow. I had to keep breathing. Even though there was no reason to hope. And all my logic said that I would never see this place again. So that's what I did. I stayed alive. I kept breathing. And one day my logic was proven all wrong because the tide came in, and gave me a sail. And now, here I am. I'm back. In Memphis, talking to you. I have ice in my glass… And I've lost her all over again. I'm so sad that I don't have Kelly. But I'm so grateful that she was with me on that island. And I know what I have to do now. I gotta keep breathing. Because tomorrow the sun will rise. Who knows what the tide could bring?”
—–
Chuck: “We live and we die by time, and we must not commit the sin of turning our back on time.
—–
Chuck: “Look what I've created! I have made FIRE!”
—–
Chuck: “We might just make it. Did that thought ever cross your brain? Well, regardless, I would rather take my chance out there on the ocean than to stay here and die on this shithole island, spending the rest of my life talking to a goddamn volleyball!!”
—–
Kelly: “I always knew you were alive, I knew it. Everybody said that I had to let you go. I love you. You're the love of my life.”
Chuck: “I love you too, Kelly. More than you'll ever know.”
—–
Kelly: “You said you'd be right back.”
Chuck: “I'm so sorry.”
Sweet, gentle, and all that other gooey stuff, Alan Silvestri’s work on GUMP lends a heartwarming sensation to the whole flick, giving a bit of magic to the simplicity of a feather flowing in the breeze, and triumph to a little boy running like a madman. You can throw a dart at the tracklist and find a piece that highlights all the tenderness that the movie has to offer and can arguably stand as the poster child for all 90s-era dramas that tried to emulate GUMP’s charm and heart (“That’s My Boat,” “I Had a Destiny”, “Forrest Meets Forrest”). But Silvestri also peppers in some excitement and energy into the score – the biggest and best when he’s running like me towards cake (“Run Forrest Run”, “The Crimson Gump”). Like Gump himself, the music is simple and can so easily win you over with its charm, and no matter how schmaltzy everything gets it's with an earnestness to it that can tug at the heartstrings, and by the time certain themes come around again at the end, you could easily be a teary-eyed mess. Silvestri is a master at hitting the emotional notes of a movie through either big, cresendoing piece or soft, melodic ones, and GUMP stands as one of the ultimate showcases of his talent. I defy you to watch a feather in the wind and not instantly start playing a piano theme in your head.
Alan Silvestri is so good at his job and his working relationship with Zemeckis on CAST AWAY was so in sync that all it takes is one piece of music for the movie to hit all the emotional notes it needs to. Notable for a lack of an original score until Chuck gets himself off the island – kicking in right as he’s looking back at it before it fades into the fog – the movie only has one theme that is used again and again and never wears out its welcome. Emphasizing loneliness by not including the music, when it does come in Silvestri’s piece hits like a wave of relief, and from then it finds a perfect place in any moment that should get the tears flowing and the heart pounding. When Wilson leaves or when Chuck is saying his last goodbye to Kelly, everything is given its proper weight thanks to the slow, graceful sound of the theme, one which never goes too big and settles as it ebbs and flows. It's a remarkable piece of music, and even though it's minimal is the perfect instrumental to sum up the entire saga of Chuck on a resounding note.
If GUMP has anything at all it’s a big, fat heart. Thanks to the work from Hanks, the music, and the pure charm of many moments it’s hard not to fall in love with the mind of Gump and how he throws himself into any scenario with an unbreakable spirit and a lesson from his momma to make sense of it all. The movie is endearing from start to finish, and even if the supporting character development is sorely lacking it’s a testament to the movie’s sweetness that you can genuinely care about everyone as much as Gump does. I mean, as much time as Jenny doesn't get to be a great character you can't help but want Forrest to win over the love of his life. Again, a large part of that is thanks to Hanks, who injects humor and warmth into any moment. As sweet as a box of chocolates, GUMP has remained a classic because of how undeniably endearing it is, which is just enough to make up for some fundamental flaws and instead leave you with a big “Awww.” Yes, I went there.
Before seeing CAST AWAY, did you ever think it was possible to fall in love with a volleyball? Did you ever think you would cry over one as it drifted off across the sea, the owner so desperately trying to save him while screaming out its christened name – Wilson – only to fail? The movie not only makes this a reality but sears the imagery into your head, to the point now where the name Wilson, no matter who has it, is now permanently affixed with several exclamation points at the end. But this tragic moment is built up to so incredibly well thanks to how the bond between Chuck and Wilson is established, with the two having a casual, sometimes tumultuous relationship as the former relies on him more and more to not fully lose his mind. It’s a special bond that only this circumstance could allow, which gives the whole movie an unexpectedly big heart. But we also have the relationship between Chuck and Kelly, with the man never losing sight of his love and keeping her alive so that maybe he can see her again. She’s the hope that keeps him alive, and come the end, she’s the last part of himself that he needs to let go. Fit with Silvestri’s singular piece of music, these moments have a gut-punching emotional power reaffirms the movie’s tremendous soul, which is enough to make you appreciate the relationships you have in your own life. Oh god, here it comes… “WILSON!!!!”
Awards
Oscars:
- Won – Best Picture
- Won – Best Director – Robert Zemeckis
- Won – Best Adapted Screenplay – Eric Roth
- Won- Best Actor – Tom Hanks
- Won – Best Editing
- Won – Best Visual Effects
- Nominated – Best Supporting Actor – Gary Sinise
- Nominated – Best Cinematography
- Nominated – Best Art Direction
- Nominated – Best Sound
- Nominated – Best Sound Effect
- Nominated – Best Score
- Nominated – Best Makeup
Golden Globes:
- Won – Best Actor – Tom Hanks
- Won – Best Picture – Drama
- Won – Best Director – Robert Zemeckis
- Nominated – Best Adapted Screenplay – Eric Roth
- Nominated – Best Supporting Actress – Robin Wright
- Nominated – Best Supporting Actor – Gary Sinise
- Nominated – Best Score
**Another 38 Wins and 57 Nominations**
Praise
Money:
- $330 million ($678 million globally)
Awards
Oscars:
- Nominated – Best Actor – Tom Hanks
- Nominated – Best Sound
Golden Globes:
- Won – Best Actor – Tom Hanks
**Another 14 Wins and 33 Nominations**
Praise
Money:
- $223 million ($429 million globally)
At the time of release, the visual effects of GUMP were extraordinary, using archival footage of famous figures and blending footage of Hanks (done against blue screen) in them to make it look like Gump was shaking their hands and speaking to them. These moments, in particular, don’t hold stand the test of time as well as, say, the BACK TO THE FUTURE effects, and they’re only somewhat as terrifying now as the visuals in THE POLAR EXPRESS. But otherwise the sheer canvas of GUMP holds up rather well, like the massive crowd in Washington, or the action in Vietnam, the effects are small enough to not show their age but are filmed with such breadth by Zemeckis that they still have a sense of scope. But this isn’t a big action-adventure story or a whacky adventure with a cartoon rabbit, so while the visual effects come second to everything else, they do go a long way in making this simple-minded odyssey feel expansive.
Again, CAST AWAY was meant to be a more grounded movie than what Zemeckis had done in the past, so much of what we see on camera — no matter how grand the spectacle of nature is — is done for real. Shooting on a real island, some of the major visual effects came when showing Hanks on the mountaintop, the vastness of the Pacific imposed in front of him (this moment was actually shot in a parking lot). Couple this moment with some other gripping effect sequences, such as the plane crash and the visual of the whale when he's at sea, at you have small moments of visual wizardry that have an enormous impact and can either terrify or inspire. They're used sparingly but with resounding effect, proving that even when he's trying to be grounded Zemeckis' eye for visual effects can still have a notable placement.
CAST AWAY has its fair share of detractors, but it is an undeniably impressive film that's just as emotionally resonant as it is entertaining — the latter of which it almost has no right to be given the subject matter. Hanks delivers one of his very best performances and one that I do believe trumps his work in GUMP, and Zemeckis is just as much a master of his craft as ever. The script, while not always able to overcome the story's limitations, gets profound mileage out of it all, bucking trends and favors internal change other than a simple lesson learned. But side by side with GUMP, a movie that has surely aged and not always for the better, it comes in a slight second when adding up all the pieces. GUMP is a film made with so much love and triumphs in spite of its noticeable, sometimes troubling flaws. It's heartwarming, memorable in countless ways, boasts a wonderful score, a tremendous heart, and finds Zemeckis showcasing some of his best qualities to uplift a script with flaws that go deeper than more than few clever lines. It's an American classic to be sure — and arguably an overrated one that's unhip to like nowadays — but it still carries a pure entertainment value and spirit that's as unbreakable as the title character himself.