The Way Back

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The film begins with Janusz, a Polish POW, being interrogated by a Soviet officer. Janusz refuses to admit his guilt. His wife is brought in to the room and forced to make a statement condemning Janusz. Janusz is sentenced to 20 years in the gulag. At the camp in Siberia, Janusz meets Mr Smith, an American; an actor named Khabarov; Valka, a hardened Russian criminal; Tomasz, who makes a living by sketching erotic drawings in exchange for food and clothes; Kazik, a Pole who suffers from night blindness; Voss, a Latvian priest; and Zoran, a Yugoslav accountant. Khabarov confides to Janusz that he has a plan for escaping. Khabarov's proposed route is south to Mongolia, passing Lake Baikal. Mr Smith tells Janusz that Khabarov is fantasising about his desire to escape in order to improve his own morale, and that, in his opinion, escape is impossible. Janusz maintains his resolve. (Entertainment One)

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kaylin 

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English This story sounds like it was made for the big screen. From a Siberian gulag, a group of prisoners of different nationalities decides to escape. They have hundreds, maybe thousands of miles of inhospitable landscape ahead of them. The icy Siberia, the inhospitable Gobi desert, the colossal peaks of the Himalayas. Ill-equipped, without proper food that would last longer, sick and weakened, they embark on an incredible journey. It is clear that not everyone will survive. In fact, right from the beginning, we know that only three will survive. As the introduction tells us, only three people crossed the mountains and reached freedom. Yes, the story is based on a true event. It is one of those powerful human dramas where an individual accomplished what no one else, who wasn't in such a desperate situation, would ever dare. Not under such conditions. It is magnificent in its smallness. However, Peter Weir (Truman Show or Master & Commander: The Far Side of the World) usually takes his time before making something new, but it is usually worth it. In this case, he didn't completely miss the mark, but I think that the journey of the suffering men and one girl could have been portrayed even more harshly, to convey to the viewer more of the impossibility of the whole pilgrimage, the fact that not everyone will make it, that they all know that someone among them will still die. Like this, there are stunning shots of amazing natural scenery, emotions are played with, but it could have been done in a less melodramatic way and even more humanly. It must be said that there isn't actually that much melodrama. There could have been a lot more. More: http://www.filmovy-denik.cz/2012/08/warrior-x-ms-1-sibir-5x-rychle-zbesile.html ()

Isherwood 

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English The nonsensically edited first half, which doesn't let a single scene resonate, battles with the beautifully sprawling second half that pushes the limits of the widescreen camera to the limit. This takes points off Weir's film in the final rating despite the fact that he manages to introduce his characters using only a few words and make you like them without dramatizing the scene in any drastic way; he makes do with great actors, a few frostbite marks, and swollen lips from dryness. ()

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3DD!3 

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English Maybe a little watered down, but The Way Back is worth seeing if only for the wonderful landscapes. Top notch acting performances, Colin Farrell rules as the thief Valka and Saoirse Ronan is one of the most talented young actresses right now (and Irena reminds me of someone I know). Weir is usually a great director, but I think that this didn’t come off one hundred percent. But even so, it’s very high above average. And Dallowitz’s music is delightful. That sweater. Did your granny knit it for you? ()

J*A*S*M 

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English I have a soft spot for Weir, but he’s off the mark here. Actually, I think that it wasn’t reasonable to even try to make a film like this, paradoxically, for the same (or rather, opposite) reason that made me doubt 127 Hours. Whereas in Boyle’s latest, there wasn’t enough story for a feature film, in The Way Back  there is too much and it feels like a bunch of haphazardly cut sections of the story of a much longer film. I can’t say I had fun, or that I feel like watching the extended (complete) version. After those 133 minutes, I felt almost as exhausted as if I had made that trek, which, as someone who likes comfort, is not something I can appreciate. ()

gudaulin 

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English Director Peter Weir already has a few masterpieces under his belt, but in this case, I really didn't get this film. It's too shallow, and the dialogues are informative so that even an American viewer unfamiliar with Soviet history can follow the plot. Moreover, the characters are black and white, and it's no coincidence that the only truly well-rounded character is the classic Russian criminal played excellently by Colin Farrell, who exudes genuine emotions, animality, and charisma. Unfortunately, the script does not prescribe him a more significant role, and he completely disappears halfway through the film. This subject matter directly called for a series adaptation in six to eight-hour episodes because there simply isn't enough room in this format for the development of characters and the viewer's acceptance of them. Despite the long runtime, many things are rushed through, and the viewer mostly follows a group of refugees walking through the taiga, desert, or high mountains without witnessing the small but characteristic moments, conflicts, and decisions for the survival of the characters. For example, the escape from the gulag is rushed, and many scenes are highly improbable. Escapes from the camps, for understandable reasons, took place during the hot Siberian summer, not in snowy blizzards and at -40°C... Overall impression: 55%. Despite good intentions, watching The Way Back is at times as descriptive and hastily done in its dramatic aspect as the suffering of the refugees themselves. ()

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