Why They Climb Mountains In Movies – Part I: Leave No Trace
Firstly and foremostly, there’s something I’d like you to play on YouTube while you’re reading and hopefully beyond and it’s called:
Relaxing Sound of Rain Forest Puddles 2 Hours / Light Rain and Rain Drops Falling From Trees
I adore mixed media supporting each-other for best results and this one is by a channel I support and hope they’ll support me back one day before I turn grey.
Oh, do I got for you today just the thing you were looking for!
– How well-slept do you feel you are to enjoy a film’s pacing?
– Nothing more refreshing in the whole world than seeing a spider net woven into sunlit fern?
– Eager to climb a mountain or two but they have yet to invent teleportation?
Well, grip on that bag of pop-corn, hearty, for life is about to get forest-green and water mountain-fresh!
“Leave No Trace” tells the story about a father-and-daughter duo who live a lone life in the outdoors and on the grid, as every single article about the film very repeatedly puts it. They live in a large rainforest park in the Pacific Northwest, and the father is home-schooling the girl all he believes useful, ensuring a healthy growth – sheltering from the toxicity of our city. They have a beautiful bond.
I, personally, couldn’t think of a happier child.
Now, let’s just address the chubby elephant in the room here – yes, I love to have myself a mountain or two for breakfast every day and the biggest plot development I’ve had is dripping chocolate on my unicorn PJ’s, so you know I’m legit to preach.
And to pave your mindset steady for when you see the movie I’d like to offer you these two following points of perspective, behold:
1. Cause of Liberty
Although I doubt director Debra Granik ever had this on mind since she’s never mentioned it, one shouting film motif here is libertarianism and rejection of authority.
Character Will here and his daughter have chosen to live on their own terms, rejecting luxury utilities that slacking society has made a career out of taking for granted, such as a house or the Internet.
They have chosen solitude and tranquility.
Yes, beautiful nature is often known to be cruel and merciless and life without comfort is a hard one.
However, from where I was standing they didn’t choose it because it was easy, they chose it because it was happy and freer than the raindrop falling from the sky.
In continuance, to give haters the benefit of the doubt, Will did do it for the supposedly wrong reasons, given he is a PTSD suffering war veteran who cannot stand to live in a community. But, his decision is nevertheless a solid and reasonable one and he has never let his pain ever impact his child in a wrong way.
Instead, he raised her strong and happy.
And who here wouldn’t agree that public school and the toxic wasteland of a system that we live in is no place to raise a child.
No, seriously, who? I’d love to have some comments, hint-hint, nudge-nudge.
Irregardlessly enough to the director never saying it, I do opt to not ignore the authoritarian elephant in the room who sugarcoatedly cages said characters into RickAndMortian unity unallowing of personal liberty and self-reliance.
And once they catch you living on public land and raising your child homeless, well one thing you can say about the state – it’s got what it takes to make a mountain man leave his home. Oh, yeah. Oh, yeah.
And it is called force.
Director Debra Granik quotes Shakespeare’s “The Tempest” as her inspiration on a tonload of occasions. Her starting point is the father-daughter outcast bond and differences in social interaction preferences.
But instead, I’m quoting a differently themed piece of dialog from “The Tempest”:
How now? moody?
What is’t thou canst demand?
My liberty.” – quotation from William Shakespeare’s “The Tempest”
2. Refined Minimalism
Another reason why see this beauty of a filmpiece is filmmaking style that one can easily put up there next to Terrence Malick when it comes to undisturbed scenery.
The very poster itself primarily portrays tall green rainforest on fur-like fern and among the titan wood corpses and sky-scraping branches – celestial sun-rays try and pull through.
In the bottom right corner there’s two miniature human figures hiking their way up.
That’s all you need to know about cinematography.
This is the film’s pacing and its way of perceiving humans within the world.
But, that’s hardly why I call this minimalism.
It’s rather its economic dialog and thoroughly thought-through, less-is-more approach to script writing. This is where she parts ways with the Malick style.
So, actor Ben Foster and the writers sat down, looked in the mirror and followed Coco Chanel’s advice to remove 40% of the first draft of dialog before leaving the house.
It’s always better to be underdressed.
With that little to say, they made the two individuals of brilliantly cast actors sweat their way up to pure acting, because no pain no gain.
Unlike “Grey’s Anatomy” you won’t catch them saying how they feel every second line any day soon.
Debra Granik also likes to discover fresh talent to induce filming enthusiasm and reduce diva attitude and so she did with Thomasin McKenzie.
Debra Granik hasn’t collaborated with the industry, maybe she will, but so far she likes to fly solo with a few close pals and associates.
So, this film goes from my heart to yours as would a perfect sandwich.
To conclude, what I assume is you’re thinking how I haven’t told one joke and squeezed-in song lyrics will only get me so far but I mean is this a personal attack or something.
Wishing you many mountains of freedom all the way from The Jolly Roger,