As a seasoned mountain enthusiast and survivor of my own fair share of treacherous terrains, I found “Lost on a Mountain in Maine” to be a gripping and poignant tale that resonated deeply with me. The story is a testament to human resilience and the unbreakable bond between a father and son, portrayed beautifully by Luke David Blumm and the rest of the cast.
The title “Lost on a Mountain in Maine” refers to a survival drama based on the true events of a 12-year-old boy who found himself lost on a mountain in Maine. While the synopsis might seem straightforward, the movie presents an unexpected twist. This fresh directorial debut by Andrew Boodhoo Kightlinger delivers the tale in a manner that’s somewhat conventional and adheres to traditional storytelling techniques.
The movie challenges and nearly transcends the traditional wilderness survival genre by depicting Donn as a young boy yearning for a bond with his stoic father, who is weighed down by the hardships of the Great Depression. Screenwriter Luke Paradise, while adapting the 1939 book by Fendler and Joseph B. Egan, insightfully focuses on their relationship as the film’s central theme. The story revolves around a son striving to earn his father’s approval in the forest, only to find himself learning about masculinity from a distant parent: this is the essence of the movie.
Rather than being a gritty, survival-focused story set in the wilderness, Lost on a Mountain in Maine is primarily a heartwarming family drama with a gentle spiritual undertone. It successfully meets its humble objectives and even manages to tug at one’s heartstrings by the finale.
A Depression-Era Father Suffering from Toxic Masculinity
In the 1930s United States, Donald Fendler (Paul Sparks) wasn’t referred to as someone who exhibited toxic or uncontrolled masculinity when he came back from a tough stint on the road. Instead, his firm demeanor, hardened by the Great Depression, made him a stern father. The advice he gave his children was blunt and pragmatic, often along the lines of “sometimes you need to fight. Sometimes there’s no other option.
Donald deeply dislikes his father due to his frequent absences on long business trips, a sentiment that intensifies when a sudden work obligation forces Donald to call off the family’s planned two-week fishing vacation. However, he tries to compensate by suggesting an overnight hike up Mount Katahdin, Maine’s tallest mountain, instead.
Sparks is quite decent as Donald, embodying the stoic demeanor of resignation typical of Central Casting, reflective of the financially strained life America has handed down to his offspring. Both Sparks and Paradise earn points by depicting Donald not as a stern character from the Great Depression, but simply a product of challenging circumstances. If his later understanding that he was so preoccupied with making him tough that he neglected to be his father seems obvious, his internal struggle to balance his affection for his children with his ambition to toughen them up creates some rich family conflict that will pay off in a predictable manner as the story unfolds.
A Dangerous Hike Through 100,000 Acres of Treacherous Forest
After the hike heads south, and Donn, feeling terrified, navigates his way down the mountain, Kightlinger periodically breaks the tension with old interviews of Donn’s actual brother Ryan (who had a strong gut feeling they wouldn’t find him), his mother Ruth, and others. Although these interruptions somewhat distort the narrative flow, Donn’s perilous descent is portrayed in such an honest manner that these segments act as a jolting reminder that his experience was genuine.
Luke David Blumm puts forth a tenacious portrayal as the determined young character, trekking through 100,000 acres of untamed wilderness in sub-zero temperatures, battling insects and leeches, subsisting on berries and uncooked fish. Cinematographer Idan Menin, shooting in Hudson Valley, NY, captures breathtaking aerial views of dense vegetation that underscore the incredible odds against Donn’s survival, let alone his discovery.
In this film, the suspense of whether Donn will survive isn’t as intense as in movies like The Grey or The Edge, and it doesn’t employ the cinematic techniques found in 127 Hours or The Revenant. Instead, the depth we crave is provided by Donn’s parents. FitzGerald portrays a worried mother from the Great Depression, constantly anticipating “the call” that could bring bad news. Later, she takes action, gathering volunteers and media attention to increase the chances of finding her son. However, the film primarily focuses on a stern father who learns to soften after a close brush with disaster, and a son who gains insights into his father’s struggles and intentions. Their nine-day separation is as much emotional as it is physical, and their eventual reunion carries similar weight.
Maybe It Should’ve Been Directed by Producer Sylvester Stallone
Stranded on a Mountain in Mainegleams with its incredible true account of resilience and perseverance (Fendler’s book remains compulsory reading for all fourth graders in Maine) and the bond between Donn and his father. Its subtle critique of traditional masculinity and its delicate layer of religious themes such as faith and kindness are too soft to create a powerful dramatic impact. Had it been directed by producer Sylvester Stallone, perhaps it would have packed a stronger punch. Instead, Kightlinger offers a straightforward, unsurprising, yet competent enough, survival tale that goes down smoother than Donn did on that challenging mountain.
The movie “Lost on a Mountain in Maine,” which is brought to you by Blue Fox Entertainment, is set to hit theaters across the country on November 1.
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2024-10-30 05:31