SWISS ARMY MAN – Review

For many, Summer is a time to “get away from it all”. That’s been a theme for lots of movie characters over the years. Robert Redford in ALL IS LOST and James Franco in 127 HOURS escaped the rat race to explore the world solo, but both getaways lead to disaster (we just saw that last weekend with Blake Lively in THE SHALLOWS). Of course, solitude is often not a choice, but the result of fate. It perhaps started with Robinson Crusoe (made into several films), the idea of one or two people (or the seven TV folks on a “three-hour tour”) stranded on a desolate island. SWEPT AWAY was an Italian flick and an American remake, but the recent epic adventure that most movie fans would recall might be 2000’s CAST AWAY, This new film explores similar themes, but while Tom Hanks had a volleyball named Wilson as company, Paul Dano has the SWISS ARMY MAN.

We first encounter Hank (Dano) as he is literally at the end of his rope, just seconds before he steps off a mini-cooler to hang himself. A boating mishap has dumped him on a deserted island, and the isolation has turned to hopelessness and despair. But as Hank takes one last look at the beach, he spots something washing up on the shore. It’s a body. Upon closer inspection, Hank discovers that this man he names “Manny” (Daniel Radcliffe) is deceased. As Hanks resumes his fatal mission, he sees that Manny is stirring, quivering with flatulence (the recent dead contain a whole lotta’ gas, it seems). Utilizing some recovered items, Hanks rides atop Manny as if he were a methane-powered jet ski, all the way to a huge land mass. Hank then lugs Manny through the forest and discovers that the “stiff” has many unforseen uses (hence the film’s title), from water fountain (maybe a fire hydrant) to weapon. Then, wonder of wonders, Manny begins to talk to Hank (helping croon Hank’s theme song, “I’m F..king Crazy”). The two discuss life and love since Manny’s memories have been erased (death’s pretty traumatic on your noggin’), as they trudge through the wilderness, hoping to find civilization.

Dano carries much of the film (along with a pre-revived Radcliffe) as a man who finds a reason to live as he teeters on the edge of doom and despair. He bounces about the film frame, almost like a whirling dervish, as he bursts out of the suffocating cocoon spun by his past existence. At times he’s a teacher, then a parent as he connects with a corpse. Hank’s patience is sorely tested as he is bombarded with questions from his new companion. The usually expressive Radcliffe superbly suppresses his emoting, his face frozen into a half-wink as the child-like Manny. For the film’s first act, he’s mostly a prop, wrangled and tossed through the foliage. Despite the limits of the role, Radcliffe conveys much of the story’s complexities with expert precision, often while being toted around like a sack of spuds. Though she’s listed in the ads, Mary Elizabeth Winstead (10 CLOVERFIELD LANE) is mainly a silent image spurring long discussions between Hank and Manny until the film’s last moments.

This is the first feature film from the creative team listed as Daniels (Dan Kwan and Daniel Scheinert), two vets of cable TV comedy and short subjects. They inspire great performances from the duo, while staging several terrific action (with side-splitting slapstick) set pieces. The first thirty minutes or so is very engaging as Hank and Manny discover each other. Unfortunately the opening momentum isn’t maintained as the Daniels indulge in too many “jump cut” montages and philosophical discussions. Far too much time is devoted to Hank’s meticulous “sets”, carved out of the landscape (oh, it’s a bus…okay). We’re so worn down that an attack by a “force of nature” merely reminds us of a much better sequence in recent Oscar-winner. The tale finally screeches to a halt with a most confusing and unsatisfying final scene. SWISS ARMY MAN will make for long post-screening debates for adventurous film fans, but it’s a unique and ultimately frustrating viewing experience, a compelling idea stretched beyond the point of interest. Still hats of to the Daniels for making a story about a flatulent corpse that’s better than anyone expected.