APOCALYPTO (2007)

Directed By: Mel Gibson
Cast: Rudy Youngblood, Dalia Hernandez, Jonathan Brewer, Morris Birdyellowhead, Carlos Emilio Baez, Ramirez Amilcar, Israel Contreras, Israel Rios, Maria Isabel Diaz
Released 05/01/2007

Apocalypto tells the story of the Mayan civilisation of Central America. Although we don’t get a historical context for the story with a prologue or epilogue we still get a sense that this is a time of great strife through the insights into the lives of the civilisation. The title suggests this and although the film never directly deals with the fall of this mighty civilisation, it looms over the characters and events in the story. From the very first scenes a sense of some impending danger is cast over the lives of Jaguar Paw and his village. Despite a warning of dangers to come, the village enjoys some frolics and laughter at the expense of one of the hunters and our glimpse at the lives of these people is focused on the pranks and jokes of their village. Unfortunately this doesn’t really work. With such a short time to engross us in the lives of these villagers and emphasize with them come the inevitable struggle, seeing these characters joke about the impotence of one of the hunters who as a result is bullied by his insensitive mother-in-law and teased by his friends seems somewhat irrelevant. Gibson has tried to use humour to ingratiate his audience when the hunting discussion and practices of the opening scene does more. Added to this a contemporising of these characters you have to wonder about the authenticity of theses daily activities when Gibson seems intent on authenticity down to having them speak the native language.

This is a Gibson film though and it’s not long before the violence is coming thick and fast and our protagonist is fighting for his life. After a tribe besiege the village, setting it on fire and capturing the remaining villagers they are off to the great Mayan city. The film finally takes off and Gibson handles the pace perfectly, with moments of tension and danger raising the fear and suspense of these characters. Gibson is also becoming more adept at handling moments of genuine emotion. When they finally arrive in the awe-inspiring Mayan city, our ridiculed hunter spots his mother-in-law and there is a moment of real genuine affection between the two. Gibson also plays up the mysticism to great effect with a creepy and eerie child who warns the Mayan’s of the Jaguar and their impending doom, which they fail to heed.

Once in the city the villages are marched up to the top of a mighty tower where powerful men and women sit atop the tower attempting to satisfy the Gods. A small child even watches this sacrificial rituals with a look of glee on his face. The violence is now really cranked up by Gibson which is what some had come to expect and other no doubt will go to relish. Sacrifices where never going to pretty and Gibson depicts it such a way that you immediately get an understanding og how much a part of daily life this was.

Following a bizarre and somewhat fortunate event, some of the remaining villagers survive and are lead off. From this point on the film changes gear. It goes from being a prisoner film to a chase film. And the final act is all about our hero, Jaguar Paw, returning to his village. This essentially allows Gibson to let loose with what he loves most; gratuitous violence. If Gibson is an auteur then the harsh realities of nature, violence and the fragility of the human body may be some of the themes he consistently explores. Apocalypto is no different. This may be an ancient Mayan epic, about South America but that doesn’t mean it can’t be a rip roaring fun Westernised Hollywood version. More effective and rather shocking moments of violence, one in particular involving a Jaguar, and others which rather simplistically expose the villagers understanding of nature and the Mayan hunters lack of it, and soon most of the pack are inevitably dead. Role on a rousing ending which sees the arrival of another foe, one which will threaten both the Villagers and the vast Mayan city.

Gibson is doing here what he does best. Simplistic Hollywood style movies in a very Hollywood style way. He may be working independently (courtesy of the success of Passion) but he’s still making Hollywood movies. A final gratuitously over the top moment which is utterly irrelevant mars the satisfying conclusion but in effect sums up the entire film. Gibson needs to learn to reel in his favoured explicit gratuitous violence which has hindered Braveheart, Passion and now Apocalypto.