Into the Wild

Sean Penn's Into the Wild (2007) seems destined to be misunderstood. Critics, faux-Bohemians and youths think it celebrates "doing your own thing," even if that means dying alone in the wilderness. Detractors, not unreasonably, denounce Christopher McCandless as an irresponsible moron. But Wild is as much cautionary tale as inspirational story, though it's hard not to like Emile Hirsch's headstrong hero.

Christopher McCandless (Emile Hirsch) graduates college dissatisfied with his middle class life. He drops out of the world, hoping to hitchhike, bum and trek his way north to Alaska, guided by Jack London and Leo Tolstoy novels. McCandless meets a variety of colorful characters, traveling between Mexico and Alaska. When McCandless finally reaches his Promised Land, he finds more than he's bargained for.

Based on Jon Krakauer's book, Wild provides a remarkable character study. McCandless has no obvious reason to rebel; he's got good enough grades to reach Harvard, money, loving parents (William Hurt and Marcia Gay Harden) and an understanding sister (Jena Malone). McCandless recalls, of all people, T.E. Lawrence: he discovers his parents' relationship is built on lies, germinating a nonconformist streak and cynicism towards social convention. This disaffection doesn't coalesce into a coherent worldview; it rarely does in 20-somethings. He's just determined to break loose.

Wild's critics argue that McCandless is more moron than messiah. Chris imagines himself a cross between Thoreau and Jeremiah Johnson, but proves completely out-of-his depth. He can't hold down a job or stay out of trouble; when he actually reaches Alaska his days are numbered. But this critique feels remarkably small-minded. Whatever his shortcomings, McCandless isn't some dilettante goofing around in the woods. Everything's a calculated risk, whether bumming train rides, working for a petty crook (Vince Vaughn) or rafting without a helmet. Some reviewers suggest his odyssey as a drawn-out suicide, though that seems extreme; McCandless enjoys living on his own terms.

If Wild were a paean to recklessness, it would elide the scenes of McCandless's parents agonizing over his disappearance. Penn finds more meaning in McCandless's relationships than his solitude. His ambition impresses a hippie couple (Catherine Keener and Brian H. Dierker), even as they knock him for lack of commonsense. McCandless turns down the affections of teenaged Tracy (Kristen Stewart), forging a deeper connection through their love of music. The most affecting scenes come later on, where Chris befriends a retired leather worker (Hal Holbrook). The man's so impressed by Chris's spirit, he offers to adopt him.

Sean Penn provides arguably his best directorial work. Wild's a beautiful film to watch, Eric Gautier's breathtaking Alaskan photographs provides the grandeur of a London or Kerouac novel. Penn skillfully employs flashback scenes and careful editing to drive the story home; the show benefits from these elliptical digressions, along with a mellow score by Eddie Vedder and Jerry Hannan. Only tiresome narration by Chris's sister clunks.

Emile Hirsch followed Wild with high profile roles in Milk, Speed Racer and Savages but hasn't achieved stardom. He's a revelation here, subtlety capturing each shade of McCandless's personality. Hirsch shows Chris from all sides, an ambitious, soul-searching charmer with few delusions about himself; beneath his grandiose pronouncements lurks an awareness that he's full of shit, yet he plows on anyway. He's brash, likeable, determined yet quixotic - a beautifully-realized character.

Penn surrounds Hirsch with colorful support. Marcia Gay Harden and William Hurt make a strong impression with little screen time; Penn accords them considerable sympathy, despite their obvious flaws. Catherine Keener and Brian H. Dierker shine as their bohemian counterparts. Hal Holbrook (Lincoln) earned an Oscar nod for his emotional cameo. Vince Vaughn does extremely well playing against type. Hot-to-trot Kristen Stewart gives her best performance outside of Adventureland.

Into the Wild makes a lasting impact. It's wrong to view Chris McCandless as a martyr, but equally wrong to dismiss him as an imbecile. Anyone who's been young can relate to being ambitious, confused and disaffected. For most people though, it's just a vague discontent bubbling up between interminable job hunting and rueful nostalgia. McCandless actually did something about it.