What is his name? Why is he alone? Is he running from something, or perhaps chasing something? These questions about our protagonist remain unanswered in J.C. Chandor’s “All is Lost,” a story of serenity amidst apparent defeat, of what people do in times of desperation. Chandor takes the viewer aboard our protagonist’s journey. The only character, called “Our Man” and played by Robert Redford, appears in every scene yet speaks only three times. The author reveals no information about him other than that he drifts alone at sea on a journey reminiscent of Hemingway’s classic The Old Man and the Sea.
Begging to be heard, Chandor asks the viewer to listen attentively. With hardly any verbal communication, the story is nevertheless led by sounds: for example the wind flying across the sea, the snap of a rope being cut, and a desperate gasp for air. Each sound carries its own distinct message. The viewer’s auditory experience churns emotion and sparks interest. The film opens with an overview of a calm, slightly stirring body of water, with sounds of silence and water splashing in the background. This calm start sets the stage for the ensuing scenes to jar the viewer. The sharp contrast between noisy and silent scenes, such as an overwater scene taking a dip underwater for a few seconds, allows the viewer to reflect on the past scenes and on the development of the story. The sounds are consistently distinct and clear. The viewer hears what the sailor hears.
Surprisingly, while this film relies heavily on visuals and non-verbal cues to convey its message, it has music only towards the end. The unusual lack of music puts the viewer in a somewhat uncomfortable mood. Most directors use music to create or add to the mood of a scene. Ironically, Chandor’s lack of music creates the mood, almost telling the viewer how to feel. The viewer hears natural sounds, only what one would hear on a boat lost at sea. The viewer feels as one with “Our Man,” as opposed to watching from afar.
When combined with the sounds of the film, the visual elements tie it all together. Down to the color schemes and chosen camera angles, every detail adds to the viewing experience. Most scenes seemingly had a layer of fog spread over them, vibrant colors muted. The sailor’s clothing was consistently dull, almost disappearing into his skin, and with his ashy skin, into the ocean.
Chandor manipulates the camera angles to allow the viewer to experience with “Our Man.” Most scenes have the viewer following closely behind the man, observing and feeling with him. The shaking of the camera and the multiple scenes filmed from underwater, looking up at the boat, also bring the viewer into the story. At one point, “Our Man” climbs to the top of his boat’s sail. For the first time, the viewer sees precisely from his perspective—the long poll between his shaky legs, surrounded by the glistening water. Chandor forces the viewer to put herself in the position of the “Our Man,” and contemplate what she would do.
Robert Redford’s emotional portrayal of this mysterious character tops off the film, emphasizing its meaning and message. Every distinct, elongated stare, desperate breath, or even frustrated shout, is deliberate and powerful. He brings the viewer into the world of his character without revealing any other information about him aside from what is seen on screen.
Above all, Chandor’s decision to leave “Our Man” a mystery is brave and well executed, a magnificent demonstration of “showing” rather than “telling,” and a masterful use of the medium of film. The viewer is both familiar with and estranged from the main character and his story. This ambiguity leaves room for the viewer to create her own unique story, based on her own experiences, within the boundaries set by the director.
Though the film features only one character, he is malleable. Anyone can relate to him. Chandor leaves “Our Man” free of labels. No one person can claim he is “one of them,” but simultaneously he is everyman. Since so much remains untold, he takes on the role of an almost universal man. All viewers may find themselves in his story.
With an intriguing mix of blatancy and abstraction, Chandor creates a fascinating film. The viewer feels something is being held back, yet the viewer remains captivated. Chandor, along with the heartfelt acting of Robert Redford, enthralls the audience by awakening its senses and demanding attention.
I liked how descriptive you were with the soundtrack and eeriness of the film. You definitely conveyed how the silence of the film contributed to it’s overall message and form. I think your account of Chandor really emphasized how he wanted the viewers to understand his film, and your description of Robert Redfords character portrayed how he carried out those expectations. Reading your review, I could almost hear the sounds you were describing and see the specific aspects of the movie that you were pointing out. Your imagery really brought this review together. What unique story did you create from your own experiences while viewing this film?
Focusing on the power of auditory and visual cues in film production, your review explores the viewer’s experience of Chandor and how that experience affects the perception of “Our Man” and mood felt throughout the film. From the subtle yet eloquent sounds of nature to the lack of music, coupled by the vivid descriptions of weather and the sailor’s wardrobe, the viewer is immersed in Chandor’s story, shifting his perspective as a member of the audience to the position of the film’s protagonist. Promoted as a captivating film demanding the full attention of its audience, your review of Chandor is not a film for the “casual” moviegoer, but he who seeks a genuine movie experience that captures the viewer’s fascination.