The Mountain Between Us (2017)
★★ / ★★★★
Romantic survival pictures are a rarity in today’s film landscape and so it is most disappointing that “The Mountain Between Us,” based on the novel by Charles Martin, is too safe, failing to play upon either extremes in order to create a piece of work that is both daring and different. What results is a watchable picture that is significantly elevated by its lead performers. Without them, it would have been a bland misfire so credit goes to the casting directors for choosing the right actors for the job.
Pay attention to the opening scene, how Kate Winslet and Idris Elba introduce their characters by navigating Alex and Ben, a professional photographer and a neurosurgeon, respectively, after having been presented with information that their flights have been cancelled. Immediately we are intrigued by the characters because Winslet and Elba have a knack for capturing how actual people might react when given unfortunate news. Although a romantic picture, Alex and Ben are not peppy characters typically found in the sub-genre. I enjoyed that upon their meeting, the two are on the verge of frustration and so there is an instant spark there.
The film is visually impressive in that the snowy and mountainous landscapes look dangerous, foreboding, beautiful but clearly not a place one would like to get lost in. Scenes after the plane crash and prior to Ben and Alex deciding to search for a nearby town, if any, rather than wait for rescue are a mixed bag. Particularly annoying, although occasionally cute, are the reaction shots of a dog, whether it be after a comedic line is uttered or a during life or death situation. Using the animal in this way is such a bottom-of-the-barrel technique, often found in brain-dead romantic comedies without much aspiration other than to exist and rake in cash.
Hany Abu-Assad’s “The Mountain Between Us” is much better than such strategy. When it relies on the audience to figure out the assumptions characters make while getting to know one another in the unforgiving wilderness or the sorts of intricacies slowly being woven between them, the film is at its best. Had the screenplay by Chris Weitz and J. Mills Goodloe trusted the audience’s intelligence on a consistent manner, it certainly would have been a stronger film. There is no need for so many reaction shots of a dog, while playful, that does not have much to do with the plot.
But the beacon of the project is the strong acting by Winslet and Elba. In a movie like this, we all know how it is going to turn out. That is, they are going to survive their many trials. This is why the aftermath is perhaps the most fascinating portion of the film—when Alex and Ben have returned to their normal lives. Easily, I could have sat through another hour for the material to explore the rapidly changing dynamics between our protagonists. While these consummate thespians deliver the required complex emotions, fifteen minutes is not enough for the average screenplay to deliver a high level of catharsis.