I was stunned at just how powerful “The Grey” was. Not that I was expecting it to be bad, but I was unprepared for how deep it was on an emotional level. On the surface, it looks like your average action movie crossed with an animal attack movie as the antagonists being a pack of bloodthirsty wolves. But as “The Grey” goes on, it becomes less about the wolves and more about man’s inner struggle. The wolves are really just serve as a metaphor for the beast inside of us which threatens to tear us apart.
Liam Neeson stars as John Ottway, a man who works at an oil drilling platform out in Alaska. John, however, is not an oil worker, but instead a hunter who shoots the wolves which threaten the workers. He also keeps having visions of his wife, Ana, (Anne Openshaw) and of them cuddling in bed together, and it is not clear whether she died or if she left him before he came out to one of the coldest places on Earth. What we do know is John is pretty despondent about his current situation, and he’s not sure if he wants to go on living.
All of this contemplation comes to a sudden halt when the plane he and the workers are traveling back home on suffers a serious malfunction and crashes in the most frigid and coldest place in all of Alaska. Director Joe Carnahan directs this crash sequence for maximum effect, and he keeps you inside the plane at all times which makes it all the more terrifying to watch. Robert Zemeckis’ “Flight” may have contained the most harrowing plane crash of any 2012 movie, but the one in “The Grey” is just as unnerving to witness.
John and the survivors gather supplies and make a fire in the hopes they will be rescued, but they are soon met by a foe deadlier than the subzero temperatures: wolves. They come at the men in packs and rip them apart mercilessly, and those left over are forced to escape the crash site and make their way towards the trees in the hopes of losing the wolves and making it back to civilization in one piece. It doesn’t take long to see how John being with them is a good thing as he knows how wolves think and act, and he understands that these animals feed off of our fear of them. John informs the men it doesn’t matter if they have harmed the wolves or not because they are in their territory and not the least bit welcome in it.
Carnahan, ever since his directorial debut with “Blood, Guts, Bullets and Octane,” has been a kick ass director who fills his films with an energy both kinetic and rough. His movies are never filled with pretty boys and girls, but with working class people who have been through a rough and tumble life which has given them only so much comfort. As a result, these characters feel relatable and are inhabited by a strong group of actors who are not afraid to look less than glamorous as them.
Along with his director of photography Masanobu Takayanagi, Carnahan captures the brutally cold landscape of Alaska in a way which makes you want to wear layers of clothing and a parka even if you’re watching “The Grey” from the comfort of your own home. It should also be noted that the snowstorms seen here are not CGI creations, and the cast and crew did in fact shoot this movie out in British Columbia where the temperatures got as low as -40 degrees Celsius. Give them all points for sheer bravery!
Now I know a lot of animal lovers out there who are boycotting “The Grey” for all it’s worth due to its presentation of wolves being these ferociously evil monsters, but I doubt this movie is meant to be an accurate depiction of these animals. It’s not like you’re going into it expecting a National Geographic special, but if you are, why? The wolves and how they tear away at human flesh is clearly exaggerated for effect, and they are presented as bloodthirsty killers which I doubt they are in real life.
But the more you get into “The Grey,” the more you realize it’s really not about man versus wolf but about man’s conflict with himself. As these men make their way through unforgiving blizzards and up to a higher elevation which their bodies are not prepared to handle, they discuss the existence of God and if there was ever one to begin with. This movie is not out to offer any definitive answer to this question, but examination of this issue creates a moral conundrum for the characters which is fascinating to watch, and it brings the movie to a whole other level I didn’t expect it to go to.
It also helps that Carnahan has a great supporting cast of actors like James Badge Dale, Dermot Mulroney, Frank Grillo, Dallas Roberts, Nonso Anozie and Joe Anderson to work with as they all do a great job of bringing these characters to life. I especially have to single out Grillo who plays the arrogant hard ass Diaz. This character is the kind you want to see die painfully in a movie like this as he is like Hudson from “Aliens,” and excruciating pain in the ass, but Grillo makes Diaz into much more than that, and his character’s fate is a very sobering one to witness.
You have got to hand it to Neeson though as he brings a tremendous gravity to each film he’s in. Neeson has always been a riveting actor to watch, and he sells you on the knowledge his character has of wolves in a way few others can. If it were anyone else in this role, things might not seem as believable, but Neeson is the kind of guy who looks like he’s been through a lot in life (and he has), and you need an actor like him in a movie like this.
“The Grey” also has an emotionally powerful film score by Marc Streitenfeld. He has been Ridley Scott’s composer of choice for several of his movies, and yet he somehow got some time off to compose something for Carnahan. I even detected strands of Henryk Górecki’s Symphony No. 3 in Streitenfeld’s score, and that is a piece of music as beautiful as it is sad (Peter Weir used it to great effect in “Fearless”). I had no idea Streitenfeld was going to come up with music this moving, and this says a lot about his talent.
“The Grey” doesn’t reinvent cinema as we know it, but it does take familiar elements and creates a movie going experience I didn’t expect to be taken on. While many may be bummed out by the film’s ending, I feel it is a perfect one for a movie like this. This is not a story which requires a heavy-duty action sequence to conclude it, and it’s really better for it as a result (be sure to stay through the end credits though). Those involved in its making were not out to give us a simple action movie, but instead a character driven one, and we should give them our thanks for taking it in this particular direction. Any other filmmaker would have been content to give us something which seemed like business as usual, but Carnahan was not out to do that. Thanks goodness for that.