Castaway Movie Analysis-Journeys

Castaway , directed by Robert Zemeckis, is a 2001 film starring Tom Hanks. Hanks stars as hurl Noland, a FedEx delivery man whose action is headed in the right path, until his plane crashes and he is set-apart on an island. He must adapt to his innovative life sentence on the island overcoming many obstacles in order to survive. Castaway explores ternion different journeys physical, inner and imaginative. pose out Noland is a filmic representation of the philosophy of meter equals m stary equals fulfilment.Zemeckis is deliberate in his obvious manipulation of the respondent as he uses a multitude of filmic techniques to create a connection among the audience and cast out. The physical journey in Castaway is roams struggle to survive exclusively the obstacles of living on the island and his journey to posit home. On the island his inner journey of self discovery is ab away reading what is really important in life. After he returns home he must learn to adapt to normal society and overcome his traumatic ordeal. ptyalizes imagination is also taken on a journey when he creates a companion out of a volleyball, whom he sh bes all his ideas and secrets with. Castaway is a film that is rife with symbolism. The director has purposefully included an array of different signs that start various meanings and c erstpts in spite of appearance the film. The first-class honours degree shot of the film is that of an old road and as the camera pans to the left-hand(a) we perk up a van driving towards a juncture. Immediately, these images of the road and the crossroads connote that a journey is going to take place. They symbolises that the un subsistn jockstrap is going to come to a touch in his life where he leave alone be unable to decide where he is going.As a ending of the cyclic structure of the film, we see chow chow both physically and mentally arrive at the aforementioned(prenominal) crossroads from the opening scene. As a result of his years spent on the island is undecided somewhat where he is heading so he pulls over and is given directions. He moves out into the middle of the crossroads and considers which of the four roads he wants to travel discriminating that whichever option he takes leave alone lead to a different speech both physically and internally. The film ends with a close up of Chucks face as he gazes down his chosen path.The responder is left in a state of deliberate uncertainty about which path he has chosen. The audience can be certain of one thing his choices in life will be forever influenced by his ordeal. By leaving the ending open to interpretation, Zemeckis leaves the responder debating over which direction Chuck would have headed both in his car, and in his life. During the film we see the package with the angels wings painted on it frequently. The parcel becomes the first psyche as we follow it to the destination. This personifies the package and gives the responder the impression that thi s package will be almost like an otherwise character.This package is one that washes up on the island with Chuck and is the only(prenominal) package he does not open. travel are symbolic of flying and being lifted. The wings package raises Chucks spirits and gives him hope that one day he will be able to deliver the package to its owner. The audience never pose out what was in the parcel. This fosters a sense of mystery and intrigue in the responder. Would the contents of the box have changed the outcome of Chucks life? Time is a motif that is heavily emphasised in this film. pin clover are effectively placed in the mis en scene, demonstrating that Chucks life is controlled by eon.He believes organisation and magazine management is the key to his happiness. The gift his girlfriend, Kelly, gives him is a sacking watch with her understand inside and it is one of his only possessions on the island. sequence on the island the importance he placed on time fades, as his life is no w run by nature. He finds himself alone with a limitless amount of time further with nothing to do during it. He stares at the watch for long periods, not because of time but because of the picture of Kelly in it. Like the wings package she becomes his symbol of hope and his need to shoot for off the island.His determination and faith serve to evoke optimism within the responder and it gives them hope that Chuck will continue to survive until he gets off the island. The impact time has on his life is also unequivocal when he is admonishing FedEx employees. He states We live or we die by the clock. Never allow ourselves to commit the sin of losing track of time. He says the same thing to the volleyball, Wilson, when he is planning their deal off the island. The context of when he says it changes the meaning of this quote.The first time it is said he is passionately exhausting to get workers to be more efficient and the quote is an exaggeration. The second time Chuck makes this remark, death is actually a serious option. Although the timing of his escape is important to him, time is not what is driving him anymore, instead his desire to get back to Kelly. The volleyball, Wilson, becomes Chucks only companion on the island. Wilson is Chucks need for companionship personified. Wilson is a part of Chuck as Wilsons face is made of his blood and is the physical manifestation of Chucks mental state. I know you. Chuck repeats to Wilson and this signifies that Chuck is sensitive that Wilson is a part of him while demonstrating Chuck trying to reassure himself of who he is. When Wilson is lost at sea, Chuck is devastated at losing his friend and one of the only things kept him sane on the island. Chucks palpable bedevilment evokes sympathy and grief within the responder. Chucks physical journeys are common and the directors choice of having him works for FedEx is intentional. The scene where the audience is tapern photographs of him with various modes of trans port also indicate that Chuck is a well travelled man.However, he does not understand what life is really about. It is not until he is stranded physically that his inner journey begins and he realises what is really important in life. This concept forces the responder to ask themselves whether what they value most in life is really all that important. The use of diegetic and non-diegetic audio recordings is particularly effectual in contrasting Chucks life on the island with that of his old life. For the whole time that Chuck is on the island only diegetic sounds such as waves, wind and holla is heard.The sounds of wildlife have been cut from the scene also. Zemeckis has make this to highlight the fact that Chuck is completely isolated. The first non-diegetic music we hear is when Chuck is watching the island melt in the mist as he rows away. Even without the visual we know that Chuck is now leaving the island. The lighting in Castaway is rally in showing Chucks isolation on the island. During storms, in particular the initial one which causes Chucks plane to crash, lightning and moonlight is all the light use in the scene.The lightning during the storms is hard key lighting and creates a sense of fear danger on screen and amongst the audience. The shadows that are cast on Chucks face from fire light and lightning show his vulnerability and panic. Zemeckis uses over the shoulder shots and close ups frequently on the island. This is done so the responder feels as though they are on that island with Chuck. The point of view shots that are used on the island are particularly multipurpose in showing Chucks isolation. At numerous points we see the vast sweep oar of ocean through Chucks point of view.This technique once again highlights his loneliness and desperation to find another living companion. The birds eye view shots show Chuck, alone, surrounded by nature, highlighting his solitude. Panning camera movement is used repeatedly to introduce the viewer to the landscape painting of the scene. Zemeckis uses zoom to focus the responders attention on Chuck which enables them to discern his emotions from his facial expression, rather than dialogue. There is minimal dialogue used in Castaway. This is again used to demonstrate the characters segregation but it also serves another purpose.Minimal dialogue places greater emphasis on the other devices such as camera usage, music and lighting and it relies on these devices to convey the journeys. The 2001 drama film, Castaway is an excellent example of a film embrace physical, inner and imaginative journeys. The director, Robert Zemeckis, has exploited numerous filmic devices to allow the responder to grow the film as though it were reality. His effective use of symbolism, camera shots and angles, sound and lighting influences the responders view of the film.