The Grey (2011)
★★★ / ★★★★
Ottway (Liam Neeson) was considering to commit suicide the night before he and a group of oil rig workers were scheduled to take a flight to visit home, but he decided against it after hearing a wolf howl from a distance. When their plane crashed in Alaska, miles from the nearest town or city, Ottway and seven survivors (Frank Grillo, Dallas Roberts, Dermot Mulroney, Joe Anderson, Nonso Anozie, James Badge Dale, and Ben Bray) were systematically hunted and killed by ravenous wolves. As the men dwindled in number, Ottway’s insistence to live became clearer. Conversely, the possibility of Ottway finding refuge turned dimmer. Written by Ian Mackenzie Jeffers and Joe Carnahan, “The Grey” was a cut above us being reduced to passively watching men trying to survive against the cruelty of nature. It forced us to consider difficult questions by immersing us in images that ranged from the grizzly wolf attacks to the chilly landscapes of barren hope. Even though it was difficult to remember the men’s names, the majority of them serving as fodder for the canines, more was revealed about them in the second half of the picture. So when a character, for instance, decided that others should leave him behind because his will to live reached the bottom of the barrel, we felt bad for the character yet we understood where he was coming from. There was no melodrama. The aforementioned scene was especially well-executed. There was no music that served to signal that we should feel a certain way. There was only silence and peace, an acquisition of mental freedom through the act of surrendering. I found beauty in its attitude about death, how it shouldn’t be feared as long as it’s our choice. Notice the contrast between a sweet surrender and a wolf suddenly jumping from behind while the men kept warm around a fire. The title went beyond the color of the wolves that growled from a distance. The adventure was ultimately convincing because the film was essentially about the grey area of life and death. By watching the men march for a seemingly interminable distance, the picture dared us to question how far we think we would be willing to go if we were forced to be in their place. The men were supposed to be “tough” because they were hardened by their time and experiences in prison. Despite their histories and intrepid comportments, we could relate to them because the screenplay gave them a chance to open up and reveal reasons why they wanted to survive. Like them, the majority of us value our families most: we fight for them, to be with them, even if it meant making the ultimate sacrifice. That’s what separates us from other animals like the wolves in the film. They may be able to remember a person who harmed them in some way but they are incapable of loyalty or being connected to their conscience. “The Grey,” directed by Joe Carnahan, also benefited from Neeson’s versatile performance. He was able to keep an interesting balance between being animalistic and humanistic, a requisite for a movie driven by implications about our place in nature. But it wasn’t without a sense of humor. I wondered at some point if barbecued wolf meat was a delicacy somewhere out there.