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Film Review
Man vs. Nature: ‘Into the Wild’ explores virtues of forgiveness
What makes the story of Christopher McCandless so interesting isn’t the man-versus-nature theme. That idea has been played out many times in film and literature.
Unlike the typical story, McCandless’ tale involves the protagonist rejecting society in his quest to find himself. Based on a 1996 novel by Jon Krakauer, “Into the Wild” (Paramount Vantage) is about a man who searches for his identity in the Alaskan wilderness.
The film begins with McCandless’ college graduation. Soon after celebrating with his traditionally conservative and wealthy parents, McCandless sets off on his journey across the country with no ID, no plan and no contact with his family.
The story, narrated by his sister, provides a glimpse into the abusive and wealth-obsessed family history that led McCandless to reject everything conventional. His sister’s point of view shows the transformation of McCandless’ parents in their angst of their missing son.
While his family is agonizing over his whereabouts, McCandless is “tramping” across Western America. He unofficially changes his name to Alexander Supertramp and meets a host of unique characters on his travels from a farm in South Dakota, to kayaking down the Colorado River into Mexico, then finally up to Alaska.
After hiking into the snow-covered wilderness, McCandless finds an abandoned bus that he sets up as his home. After a few months in solitude, McCandless discovers that people are the key to happiness.
His personal transformation begins once McCandless is stretched to his physical and emotional limits. Prior to these moments, McCandless is determined to be his own man, independent of all human relationships.
Sean Penn, the director and writer of the screenplay, is not just telling an interesting story. “Into the Wild” is a medley of lessons and truths strung together across a landscape that stretches up and down the entire Western coast of the United States.
Love, the importance of human relationships and a rejection of all that is superficial are just a handful of the insights revealed.
Emile Hirsch plays Christopher McCandless well. The arrogant yet authentic young man could have easily become obnoxious — but Hirsch conveys McCandless’ passion for truth convincingly. Other strong performances enforce the overall quality of the film.
While the film runs long, it does so appropriately considering McCandless’ long search through the complexities and truths of life. His discovery is what drives the film through slower parts.
It’s hard to resist being fascinated by McCandless. Penn capitalizes on that.
While the film depicts a search for authentic truths, the main character of McCandless does it in a very self-centered and selfish way.
When one character tells him that forgiveness is like God shining down on a person, it seems that McCandless is near conversion. But he cannot give up the idol he has created in his life — his experience with the Alaskan wilderness.
By the end of his immersion into Alaska, the teaching of the second chapter of Genesis becomes apparent: “It is not good that man should be alone.”
McCandless stops enjoying his nature experience because he misses people. The existence of happiness that he discovers is best when shared.
It is only through this stripping away of companionship that McCandless is finally able to forgive his parents and, for the first time, his focus turns away from seeking independence.
Nature is important, but human relationships are what bring meaning to life. Forgiveness is a crucial part of that human relationship.
The film illustrates how truly exhilarating forgiving others can be. While nature might be exciting, like everything else, it is better when shared.
Rebecca Bostic is a regular contributor to The Catholic Sun. Comments are welcome. Send e-mail to letters@catholicsun.org.
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