The Walk

Robert Zemeckis’s The Walk, based on the events surrounding Philippe Petit’s 1974 high-wire walk between the World Trade Centre towers, opens with Petit (Gordon-Levitt) atop the Statue of Liberty, enthusiastically addressing the camera to expound his life story and dreams. Right off the bat, Zemeckis gets across the exact tone his film is going to be pitched at: a bio-drama filtered through the lens of broad, pop entertainment and extravagant cinematic spectacle. It definitely will not appeal to the sensibilities of many, especially those cynical of even bringing Petit’s story to the screen in this way when James Marsh’s beloved documentary Man on Wire already exists.

That being said, for those who can get on Zemeckis’s wavelength, The Walk offers an array of pleasures. It is undeniably goofy in tone, but welcomingly sincere in spirit. Whimsy is laced with tragedy thanks to the unspoken, tragic epilogue of the story (i.e. what happened to the landmark 27 years later), something the very final scene alludes to in a moving, classy way.

In similar vein to Marsh’s doc, the film’s first half is in the mode of light heist caper, with Petit surrounded by an entertaining band of accomplices. It’s all fun, but the actual extended set-piece of the stunt is where Zemeckis’s visual storytelling becomes truly potent and transportive. It’s a masterly example of a showman filmmaker attuned to how careful composition, movement, space and perspective can stir audiences – physically and emotionally.

Extras:

The above was the case in 3D on the big screen, anyway. Now out of cinemas, and an unlikely title for re-release revival, a DVD presentation seems ill-fitting for a work absolutely made for the biggest screen possible. If seeking out this unfortunate box-office bomb at home, please at least opt for the 3D Blu-ray.