Any film opening with the lines of the romantic poet Lord Byron, especially one stating By the deep sea and the music on its roar; / I love not man the less, but nature more,"" is going to present a romanticized epic rather than an entirely factual interpretation of an event.
Actor-director Sean Penn's ""Into The Wild"" gives the viewer just that when he presents a movie more concerned with emphasizing aesthetic beauty and a poetic epic than the callousness behind its main character's actions.
Based on John Krakauer's book of the same name, the film follows the journey of Christopher McCandless (Emile Hirsch) as he attempts to escape his materialistic parents (Maricia Gay Harden and William Hurt) and the bland, upper-middle class society that awaits him after graduating.
Heavily influenced by the radical ideals of Henry David Thoreau and Jack London, Chris opts for a different path: donating all of his savings to Oxfam, abandoning his car in the desert, changing his name to ""Alex Supertramp"" and traversing the continent without material possessions. His two-year adventure takes him through most of the western part of the United States, Mexico and fatally ends in the Alaskan wilderness.
The film's depiction of a 20-something-college graduate exploring his ""inner self"" in the wild is sharp and believable. Chris/Alex constantly finds new ways to explore the land and continue his journey, and speaks greatly to the power of the human mind. The cinematography captures vast, luscious landscapes, all of which are an unquestionably beautiful, serene survey of the natural world. Combined with effective music provided by Eddie Vedder, Penn is able to depict the world in its most natural, sublime sense.
Also notable are the handful of memorable characters Alex meets throughout his adventure. He spends a portion of his trip in South Dakota as a mill operator working for the lovable Wayne (a terrific role for Vince Vaughn), twice crosses paths with traveling hippies Jan and Rainey (Katherine Keener and Brian Dierker) and makes a heartfelt connection with Army veteran/lonely old man Ron Franz (Hal Holbrook).
With each character he makes an immediate connection, inspiring them and leaving a lasting impression as a brother, a best friend or - in Ron's Case - a surrogate grandson. All of these interactions are memorable and evoke fond emotions.
Unfortunately, these interactions also present the film's major flaw: Penn consciously omitting any sense of reality in other's perception of the main character's journey. Everyone seemingly accepts his notion, including his beloved younger sister Carine (Jena Malone), who never once hears from her brother, yet presumes his abandonment as a search to better himself and the world. This is evident through continual voiceovers provided by her character. Considering this aspect, the movie seemingly endorses running away from problems while presenting them in a romanticized, heroic fashion.
This movie should be taken in the context of the romantic poetry that it opens with. No matter how trivial Chris' reasons may be for leaving, Penn is able to make an understandable, sympathetic character of Chris/Alex through the memorable characters and majestic scenery surrounding him.
The overall effect is successful, as Penn's film leaves a mark on the viewer similar to that which Chris leaves with every person he meets:You may not agree with it, but you can definitely admire it.
