In a DVD featurette Danny Boyle states, “The idea of a confined space is a psychological one”. This can be distinguished through the deterioration of Aron’s mind resulting from dehydration and sleep deprivation. He becomes disoriented and starts to hallucinate, at one point creating his own chat show. He also begins to remember his childhood and past events through a series of flashbacks such as his relationship with his father, showing how he became interested in hiking. 127 Hours displays the awareness of space both psychologically and physically. This can be seen when Aron drops his multi-tool as the spectator watches his struggle and attempts to pick it up with a stick. This on-going battle with himself and his need to obtain the multi-tool in order to escape releases tension and creates humour for the spectator. The camera angle also highlights his inability to move an inch from the rock and reminds the audience of the limitations posed by the confined space. 127 Hours was quite unique in employing the services of two cinematographers: Enrique Chediak and Anthony Dod Mantle. They both have different styles that can be seen by their choices in camera angles, the format and optics used. These decisions were necessary due to the limited characters in the film thus enabling the audience to be submerged into the narrative. The use of two cinematographers created a unique and organic image that is displayed in the flashback scenes, which use a threesplit screen. As a result, the cinematographers complimented each other and have recreated visual scenarios in a new and interesting way. Another contribution to the film’s gritty and mesmerising camera techniques was the choice of cameras used, switching between digital and film. Boyle’s decision to experiment with these different cameras (Canon EOS 5D Mark II, Canon 7D and SI2K) enabled him to capture this unique image that is not frequently used in film. This is illustrated through the different locations creating a different tone and atmosphere that is introduced by Aron’s video diaries as they capture a raw account of his injuries and fears witnessing his deterioration and possible death. For that reason the use of two cinematographers enabled audiences to distinctly notice the difference in filmmaking style and aesthetics. The decision to shoot on location and in a confined studio creates a kinetic hyperreality that captures the vivid moments experienced
24 Diegesis: CUT TO [space]
by Aron and constructs an uneasy atmosphere that is evident in many of Boyle’s films. In films such as Trainspotting (1996), 28 Days Later (2002), Sunshine (2007) and Slumdog Millionaire (2008), Boyle’s energetic style can be recognised in his unsettling narratives, fast paced editing, electronic music and likeable and relatable characters. However, unlike most of his films, 127 Hours only shows the story of one protagonist instead of a group struggling together with an event unfolding on screen. The focus on one protagonist allows the spectator to be submerged in their story and sustain a personal relationship with that character. In 127 Hours the protagonist instigates an emotional and personal relationship with the audience, which can be seen in Franco’s direct engagement with the camera at certain points, breaking the fourth wall. The enclosed set enabled an intimacy between the director, cinematographer and the actor, enhancing Franco’s vulnerability in certain scenes and increasing the film’s emotional impact by focusing on Franco’s reactions and facial expressions. The interaction with the camera helped to sustain the pace of the film and the spectator’s interest, reeling them into the emotion as displayed by the actor. 127 Hours displays many forms of film space, from the use of cinematography to the choice of music, and does so in a way that manipulates and directs the narrative. The use of space is encapsulated in Boyle’s decision to reconstruct the canyon, which was built without moveable walls thus becoming more constricted than the original location. In doing so, the film captivates audiences and makes them question their own space. The “ultra confined space” can be distinguished as the boulder that prevents Aron from returning home but it can also be considered as the space behind the camera and the confinements of shooting in such a narrow space, preventing the use of standard movie cameras such as 35mm. Nevertheless, this enabled Boyle to utilise smaller cameras to obtain the intimate and unique shots, which he would be unable to achieve with a larger camera and allowing Boyle to experiment and move away from conventional film techniques. As a result the confined and claustrophobic space induces panic for the protagonist and apprehension for the audience, but in Boyle’s capable hands it is a space we enjoy being stuck in.