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Oscar Watch: The Way Back Reveals Tricky Indie Marketplace

Oscar Watch: The Way Back Reveals Tricky Indie Marketplace

Thompson on Hollywood

Now that I have finally seen Peter Weir’s The Way Back, I see why the film has been handled the way it has. It reveals how difficult it is to get a period drama financed and produced today. This labor of love took Exclusive Films (and foreign pre-sales), National Geographic Films and Imagenation Abu Dhabi to get made.

It’s a challenging, impeccably produced and directed, sprawling project shot over many locations in the mountains of India, the deserts of Morocco, Mexico, and studios in Australia and Bulgaria. Without a director of Peter Weir’s caliber and a strong script, they never could have assembled the cast they did: Colin Farrell, Jim Sturgess, Ed Harris, and Saorise Ronan star in the $30 million film inspired by Slavomir Rawicz’s novel, The Long Walk: The True Story of a Trek to Freedom, about a 1940 gang of escapees from a harsh Siberian gulag who walk thousands of miles and across five hostile countries to freedom (check out the domestic trailer below). The film has many virtues: it recalls The Guns of Navarone and The Great Escape–not to mention another upcoming road journey, Kelly Reichardt’s Meek’s Cutoff.

But in today’s risk-averse climate, when no distribs can afford to make a costly mistake, this grim episodic slog—no matter how expertly executed–could not land a studio release. This is similar to Alejandro Gonzalez Inarritu’s Cannes entry Biutiful, which wound up at Lionsgate/Roadside, which is equipped to nurture it properly. Exclusive is self-releasing the movie through its own Newmarket label, which is bringing in Chris Ball’s specialty distrib Wrekin Hill and Image Entertainment.

But even with 42 West behind it, Wrekin is unlikely to lavish the care and attention–and yes, spending–that a film like this requires. I saw it in a tiny inexpensive screening room (PR folks insist this was an exception); this movie should be seen with the biggest screen possible. It’s just the sort of old-fashioned epic that the Academy appreciates, but most of them will toss it into their screener piles: not ideal. Also, Weir purposely favors an ensemble. This is not a calculated hero-worshipping film where every star gets to show off in a bravura scene. Of all the actors, though, veteran Harris (who has been nominated four times and never won) carries the emotional through-line of the film, and could score a supporting nod.

The Way Back will open for a qualifying Oscar run in Los Angeles on December 29 and expand far too wide for a film like this (a planned 600 screens) on January 21, 2011.

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Keil Shults

Weir should be applauded for creating a film of this caliber, with a cast this impressive, for so little money. Instead, he’s being punished and the potential success of his film threatened for no good reason. With all the expensive schlock (much of which fails, by the way) being released by Hollywood every month, couldn’t one studio have the guts to take a relatively minor chance? Worst case scenario: they’re out a little money, but they boost their reputation and look like the nice studio who helped out a legendary filmmaker who was down on his luck. Best case scenario: their small gamble pays off and they (at least) make back their money and earn some awards to boot.


Sorry for the long post…


Thank you for the insightful article,Anne.Glad to know you love the seems it’s tough time for the film like “The Way Back”.But it’s really shame that TWB couldn’t get the good distributor and good Oscar campaign.Peter Weir is great director.I just hope at least Newmarket try to create the buzz for the film as possible.I think (and hope) there are still many movie lovers who want to see good films. I just hope Academy will recognize Weir’s great work again and TWB would finally break Jim Sturgess,one of greatest under-the-radar young actors.

>This is not a calculated hero-worshipping film where every star gets to show off in a bravura scene.

I think you are right.Jim Sturgess says of Weir’s direction like this in the interview he gave his fan site last year.

[i]”…The tone in which he wanted the acting was something quite new to me. He simply wanted us to just ‘be’…if that makes any sense. Not to give too much away. He was so against the film taking a melodramatic turn. There were so many moments where any other director would have turned on the emotional tap but Peter wanted to keep a lid on it at all cost. The emotion is there buried deep in all of the characters and it was about trying your best ‘not’ to show it. I thought that was really interesting. “[/i]

(FYI,Sturgess talks a lot about TWB in this interview.It’s very good interview.)

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