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Kyle Allen-Niesen Humanities 302 Final Paper

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Kyle Allen-Niesen Humanities 302 Final Paper Undergraduate Writing Prize 2015 Alice Kaplan Institute for the Humanities Northwestern University Jean Gimbel Lane Prize - Best Visual Studies Paper Globalization, Oceans, and Robert Redford: JC Chandor’s All Is Lost as Allegory for the State of the American Dream by KYLE ALLEN-NIESEN Course: “Oceanic Studies: Literature, Environment, History” (HUM 302) Quarter: Winter 2015 Professor: Harris Feinsod © 2015. Kyle Allen-Niesen. Kyle Allen-Niesen Humanities 302 Final Paper Globalization, Oceans, and Robert Redford: JC Chandor’s All Is Lost as Allegory for the State of the American Dream JC Chandor’s 2013 movie All is Lost features a solo sailor, who must fight to survive the effects of shipwreck, inclement weather, and indifferent container ships in the midst of the Indian Ocean. Starring Robert Redford, the film is more than just a fine example of a survival movie and a vehicle for Redford to display his acting chops. From the first scene, Chandor, who’s previous film was the snappy Wall Street drama Margin Call, seems determined to illustrate the ways in which global capitalism has become like the fury of the sea - an uncompromising, mighty force of nature with which an individual can struggle, but never overcome. Where Margin Call focused on the loss and confusion experienced by those on Wall Street during the last financial crisis, the silent struggles of Redford’s character in All is Lost reflect the turmoil and fight for survival experienced by those living on “Main Street” in modern America. The protagonist, known as “Our Man”, is forced to improvise to survive after finding all that he knew well stripped from him by a wayward shipping container and a raging storm in the Indian Ocean. In the same way, Americans who had lost their jobs and homes in the wake of the Great Recession were forced to confront a new and difficult reality where global capitalism does as much violence as a raging storm. In JC Chandor’s All is Lost, Robert Redford’s portrayal of “Our Man’s” individual struggle to survive in the face of the hostile and impersonal forces of the ocean and the globalized shipping industry conveys a bleak portrait of contemporary American reality wherein the vast majority of people, cast adrift by 1 Kyle Allen-Niesen Humanities 302 Final Paper the last financial crisis, struggle against the isolating and indifferent forces of global capitalism. Chandor is intent on portraying the ways in which capitalism has become a force of nature and has imposed itself on the sea from the first frames of the film. All is Lost begins with a peaceful seascape, but as Redford begins his voice-over (the only real lines of dialogue in the film) the black wedge of a shipping container separates the sea from the sky. Taking up the most of the camera frame, the opening serves as clear foreshadowing that the consequences of globalization and modernity on the sea will feature as a villain in the film. Much like the cover image on Allan Sekula’s Fish Story, which features a picture of a container ship sailing into rough weather, this first image of a wayward container shows the ways in which “modernity dissolves the edifying unity of the classical maritime panorama”(Sekula 106), cutting into the soft blues of sea and sky with the rigid edges of the black container. It is this container that tears a hole in the hull of “Our Man’s” sailboat, isolates him by knocking out his electronics, and begins his long struggle to survive. Much has been made about the choice of Robert Redford to play the solitary sailor who fights to the last against the indifferent might of the forces of nature. Most known for playing roles in films that would never be featured at the Oscars, Redford’s reputation as an old, silent, rugged American actor who’s heyday had come and gone fits perfectly within the allegorical message of the film. Redford’s weathered handsomeness conjures a certain image of the American dream, because, as film critic Molly Lambert puts it, “Redford [has] regularly played beautiful upper- 2 Kyle Allen-Niesen Humanities 302 Final Paper class men (like a male Grace Kelly)”, creating the portrait of what Joshua Clover calls “the consummate Californian”. Clover argues that Redford embodies “mid-20th- century Americana, without reference to the non-Caucasian—a vision that was kitsch even in its youth”. Yet this image is precisely the one that Chandor wants to highlight, as it is the Americans that most identify with this image who are the greatest victims of global capitalism. Redford’s age hints at this potential vulnerability from the beginning of the film. Before he is forced to abandon his ship the Virginia Jean, viewers see him struggling to climb the mast, repair his ship, and even carry his supply of potable water. Even in the screenplay the character has been carefully crafted to be relatable- without any biographical facts, he is a vessel for viewers to project their own desires and associations. Never even given a name, the character is only referred to as “Our Man” in the script, recalling Joseph Conrad’s Lord Jim, where Jim is referred to by Captain Marlow (and Conrad, in the Author’s Notes) as “one of us”(306). Instead of as a sailor in the Merchant Marine, however, the prototypical American as painted by Chandor is a well off but aging Baby Boomer, a product of the peak of America’s mid-20th century hegemony. Redford’s character then, is clearly a stand-in for the American people, and for the state of the American dream of individual success and happiness. When one considers the details of the plot, the allegory to the plight of the American people becomes wrenching. Redford’s sailboat is his home, and its sinking leaves him “homeless” – just as the past economic crisis sank the home values of so many Americans, drowning them in debt and forcing foreclosures, thus casting them 3 Kyle Allen-Niesen Humanities 302 Final Paper out of their homes. Once aboard a life raft, Redford is forced to constantly improvise to survive, just as Americans, often out of homes and out of jobs, were forced to adapt to a new reality in the aftermath of the crisis, taking lower-paying jobs and struggling to make ends meet. The consequences of the Great Recession thus act as the contemporary American parallel to a sailor cast adrift on the high seas. Both have been cast out of relative comfort, and forced to fight to survive in new and hostile conditions where the enemy is not a rival nation, but a set of powerful impersonal forces. As film critic Wesley Morris notes, Redford’s “foes are simply weather and time”. Likewise, as George Packer puts it in The Unwinding: An Inner History of the New America, Americans have been “watching structures long in place collapsing — things like farms, factories, subdivisions and public schools on the one hand, and ways and means in Washington caucus rooms, taboos on New York trading desks and manners and morals everywhere on the other”(Packer, 3). It is perhaps this feeling of disorientation and collapse that Winslow Homer was trying to portray in his painting Lost on the Grand Banks, which Allan Sekula describes as “two poor lost dory fishermen, momentarily high on a swell, peering into a wall of fog”(Sekula, 3). The fishermen are faced with certain death. Our Man, too, is confronted by mortal danger in his inflatable raft; the frequent shots of the raft from the ocean below show its shadow as it eclipses the sun, the growing darkness a visual representation for the steady decline of strength and hope as time passes with no sign of rescue. 4 Kyle Allen-Niesen Humanities 302 Final Paper As All is Lost progresses, Redford undergoes a transformation, tumbling down the Crusoe-ian ladder of the Homo Economicus, and is forced to revert back to past forms of survival on the sea. From the moment the movie begins and “Our Man” loses his all of his electronic equipment thanks to the wayward shipping container, misfortunes and obstacles steadily take away the tools a modern sailor uses as a bulwark against the dangers of the sea. Like Robinson Crusoe, who before his as marronage lived as a wealthy Brazilian plantation owner and a man benefiting immensely from the levers of capitalism, Redford’s character is presumably wealthy enough to own a luxurious and well-equipped sailboat. Our Man mirrors Crusoe’s fall into primitive island-living in his actions while adrift, learning how to use a sextant, desalinate water, use charts and logs as navigational tools, and navigate by the stars. Desperation drives him to revive old skills and methods of living at sea, a regression that even takes the form of the cliché message in a bottle. In the end, he is left with nothing but the capacity to make fire, and, lacking the ability to control it, ends up a man without any tools at all, struggling to stay afloat. While Crusoe on land can be held up as an early example of the Homo Economicus- the economic man, individually striving to produce and profit, Our Man represents the ways in which that idea has aged. His profit has been made – its what bought him the boat in the first place. The rest of the movie shows the stripping away of all he had gained. If one were to graph the narrative arcs of both stores, the nadir of Crusoe’s narrative arc would occur at his marronage, and would climb as he built himself a new life one the island.
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