The Walk (2015)

(On Cable TV, April 2015) The incredible story of Philippe Petit, who in 1974 managed to walk a wire between the two towers of the just-completed World Trade Center, was so exceptionally well covered in the 2008 documentary Man on Wire that a docu-fictional take on the same event didn’t feel necessary. But get Robert Zemeckis in charge of The Walk, give him a decent budget, put Joseph Gordon Lewitt in the lead role and suddenly, things look far more promising. Zemeckis, always impressively able to augment reality with special effects, here uses a joyously expressionistic tone to reflect Petit’s unbounded enthusiasm as his character (standing on the Statue of Liberty, a postcard-perfect view of pre-2001 Manhattan behind him) explains his life and the wire-walking caper. While some of The Walk’s first half-hour drags a bit (“Oh no, a flashback within a flashback!” is a bad sign in any film, and this one is no exception), the visually inventive tone of the film works well at keeping our interest until the film’s standout sequence, a vertiginous set-piece showing Petit walking from one tower to another … and then again and again, gently mocking policemen sent to arrest him, bowing to his audience and paying homage to the towers for making this stunt possible. It’s hard not to smile while watching The Walk, so infectious is Petit’s exuberant joie-de-vivre. Joseph Gordon-Lewitt had a tough role in trying to come across credibly as Petit (the real-life character, as demonstrated in Man on Wire, is simply incredible), but he manages it well … and his Parisian French is so well done at times that I wondered if he was dubbed. (But no, it turns out he speaks French almost fluently, and worked hard at nailing the accent for his performance.) Combined to the physical component of his roles, it makes for an exceptional performance. Nearly as amazing is Zemeckis, seamlessly using special effects and practical sets to create now-impossible sights. The luminosity of the 1974 New York portrayed in the film is spectacular, and the camera moves enabled by the virtual sets are enough to make viewers agog. (See it on the biggest screen you can, unless you easily get vertigo) Perhaps best of all is the feeling that The Walk complements rather than duplicates or nullifies Man on Wire: It’s a terrific story, and Zemeckis had the required means to present the story as best he could.

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