Something about.. 127 Hours

This film could have gone horribly wrong. Had it have fallen into the wrong hands. But thankfully, it didn't. And the end result was one Danny Boyle, James Franco and Aron Ralston ought to be very proud of.

Danny Boyle once again proved why he is one of the greatest directors of all time. His signature style shone throughout. His films are visually stunning, and his pace and unique filming technique coupled with the arty editing create for a one-of-a-kind cinema experience each and every time. This time was no different.

127 Hours was filmed and edited in an exhilarating and intense way, reflecting the story, surroundings and the main character.

The soundtrack - by Slumdog Millionaire success, A R Rahman - was impeccable, blending thrilling, fast beats with soft, quiet melodies for reflective moments and even the odd recognisable song.

Boyle once again produces a film with flare and originality, still in keeping with the trends that have made him famous. Surreal moments of obscurity to rival even the Trainspotting toilet scene and the use of sound and music to support the visual aspects.

Boyle has had fun with Ralston's premonitions and memory montages, allowing his imagination and innovation to run wild. And his detailed and creative use of sound and music to enhance the film works brilliantly in 127 Hours, particularly when Ralston is breaking and cutting off his arm.

James Franco did not disappoint. He effectively and convincingly carried the whole movie through, relying soley on brute acting to tell the story. Supported only by brief interludes of memories and premonitions, he managed to hold my attention throughout. He captured the free spirit and independent aspect of Ralston and gave a striking performance slipping into hysteria and madness.

Franco showed many elements of Ralston's character, demonstrating his energy and upbeat personality, but also showing him as a caring and loving son, brother and lover. The key in the character was to see his change and the realisation that he does need others around him.

The highlight for me was Franco's video diary entries, and particularly the talk show scene. As Ralston reaches dehydration and starvation, he presents his state of mind through a video conversation with himself. It is both humorous and touching, as he takes on three elements of his own personality. The confident, joking and upbeat talk show presenter; the guest, an independent, lone adventurer who has ran into misfortune; and the caller, who has realised what he has lost through a desire to be independent and do things alone. Franco quickly snaps from this comedy scene to a poignant and haunting goodbye to his parents.

I'm always sceptical when a film relies on flashbacks. But 127 Hours approached the memories and hallucinations very tentatively, using them subtly and sparingly. They were effective in adding another dimension to the plot - which could have become tedious without - and to affirm the idea of Ralston realising that being alone and independent isn't the best way.

My conclusion, Boyle has done it again. And look out for Franco's name on the Oscar shortlist.

In a word: unmissable.