Reviewed by: Alexander Malsan
prisons in the Bible
FEAR, Anxiety and Worry… What does the Bible say? Answer
Why does God allow innocent people to suffer? Answer
What about the issue of suffering? Doesn’t this prove that there is no God and that we are on our own? Answer
Does God feel our pain? Answer
Did God make the world the way it is now? What kind of world would you create? Answer
death in the Bible
|Featuring:||Colin Farrelll (Valka), Ed Harris (Mr. Smith), Jim Sturgess (Janusz), Saoirse Ronan (Irena), Mark Strong (Khabarov), more »|
|Producer:||Imagenation Abu Dhabi FZ, Exclusive Films, National Geographic Films, On the Road, Point Blank Productions, more »|
“Inspired by real events / Their escape was just the beginning.”
The year was 1941. In the beginning of this film we see this text: “Hitler had invaded from the west of Poland, and Stalin invaded from the east.” The movie opens with one man being interrogated by the Polish military, refusing to give them any information on plans to take down Stalin. We are then taken to a Polish communist prison camp. There we meet our main characters, Valka, Mr. Smith, Janusz and Zoran. They are tired of the indecent treatment they have had to deal with and decide that it’s time to make a run for freedom. Along the way they run into Irena, a young Polish girl running away from the Russians. Will these friends find the freedom they seek, or will all their efforts be in vain??
There’s a reason this film received an Oscar® nominee. I can’t even begin to describe the intensity of emotions I felt for this film. From disgust to awe, I could not help but sympathize and feel for all seven characters. Director Peter Weir takes us on a fascinating journey. From the vast wilderness of the jungles, to the beautiful mountains, and even to the roaming desert, this film is simply breathtaking. The orchestration? Perfect. The camera work? Phenomenal from start to finish. The story does lag a little, but it needed to in order for this reviewer to enjoy and appreciate what this film has to offer. The acting from all of the main characters was what blew me away, and so I must commend Ed Harris, Dragos Bucar, Jim Sturgess, Colin Farrell, and even Saoirse Ronan for their outstanding performances throughout this entire film. Well done to all.
The objectionable content in this film is minimal…
Profanity: I heard one instance of G**d***, one instance of s***, and a**.
Violence: The violence was definitely moderate film. There are many terrible scenes of hardships from all of the main characters. A prisoner is stabbed during a fight over a card game. Some prisoners die of frost, some of the men are sent to mines for torture. There is one scene where the main characters come upon wolves eating a dead animal, and, after the men chase them away, they eat the animal ravenously.
Sex/Nudity: This category definitely raised suspicion on my part, mainly because I was confused why Weir had to have it in the film to begin with. There are two instances where drawings can be seen of nude women, front and back. One main character is seen with his shirt off. One of the male main characters is seen bathing naked in the river (it is mild in nature). Lastly, Irena can be seen bathing (she is fully clothed though).
There are many things we can take away from “The Way Back.” But the one lesson that stood out the most in this film, for me, is faith. These characters had nothing going for them. They had to fight their way through snow, sandstorms, starvation, strokes—everything you could imagine. They never gave up. They preserved. How? Their faith. Their faith that there was something waiting that was better for them. The hope that what was on the horizon was worth the hardship.
“The Way Back” is an emotional rollercoaster of a film, from start to finish. Due to the pressing hardships in this movie, I can only recommend this film for teens and adults, even with the moral rating I have given. In short, “The Way Back” is definitely a film worth renting, and I am glad to be able to recommend it.
Violence: Moderate / Profanity: Minor / Sex/Nudity: Moderate
See list of Relevant Issues—questions-and-answers.
…the accomplishment of Weir, director… is to make us feel like we are traveling with them every step of the way across terrain… The man-against-nature scenes are magnificently captured… and the gulag scenes also are vividly sketched. Sadly, the personal dramas often feel stock and static by comparison.
—Duane Dudek, Milwaukee Journal Sentinel
…“The Way Back” isn’t about doing what you must to survive; it’s about doing what you can to live. And there’s a big difference. … deep understanding of the power of community… I found myself affected by the trip. …
—Paul Asay, Plugged In
…Essentially a tale of the indomitable human will to survive, The Way Back is more notable for its mind-bending visual depiction of this insane trek (the film was shot on location in Pakistan, Morocco, and Bulgaria) than anything it has to say about either Stalin’s brutality or the human spirit… fails to connect on the all-important visceral, emotional level. …
—Marc Savlov, The Austin Chronicle
…thrives on keen direction, dynamic cinematography… “The Way Back” seems like it could have been made 40 or 50 years ago, and I mean that in a good way. …
—Chris Hewitt, St. Paul Pioneer Press
…Prison-break story is as cold as the landscape… we don’t get a glimpse into the inner lives of the characters. … the long stretches between stations make “The Way Back” an arduous road.
—Joe Williams, St. Louis Post-Dispatch
…an old fashioned venture, about a ragtag group of valiant, determined prisoners during World War II who make an almost superhuman effort to escape Siberia on foot… the overall metaphor Weir was aiming for—this idea of enemies so powerful and a war so menacing and confusingly big that no place seems safe except a place absurdly far away—comes through clearly and stays with you.
—Mary Pols, Time magazine
…The Way Back’s odyssey is a bit of a tough slog… the group psychology, usually so crucial in these sorts of survival adventures, is disappointingly thin here and thus robs the cast members of any chance at a nuanced performance…
—Rick Groen, The Globe and Mail