WATCH NOW
Ben Schnetzer is arguably one of the most rapidly rising actors in the industry today, and rightfully so. He comes off as exceptionally skilled. This first came to attention when he landed a minor role in The Book Thief (2013) to which he transitioned into a dominant portrayal of Mark Ashton, the gay rights activist in Pride (2014), where his commanding aura was on full display.
In the chilling fraternity drama Goat, which premiered at Sundance this year, Schnetzer adopted a more restrained persona which I personally adored, alongside his role in the ill-fated summer blockbuster Warcraft: The Beginning. Now, he is back in confident mode while taking on the role of an actual war photojournalist, Dan Eldon, in The Journey Is the Destination.
Over the years, many directors turned renowned photographers have attempted to bring Dan’s incredible life onto the silver screen; Schnetzer’s performance, in my view, was the most kindling and inspiring throughout the story in a loosely biographical cinematic that lacked cohesiveness. The directors undeniably altered the depiction of Eldon in order to avoid sensationalism; they were intent on highlighting the founding principles that inspired him to chase his passions, despite the dire consequences.
The screenplay by Jan Sardi, which is the work of The Notebook and Shine, starts when Eldon is quite embedded in his endeavors, detailing his escapades in South Africa and Somalia, where he met his demise at the mere age of 22, being stoned to death by an infuriated crowd in Mogadishu. “I want to do so many things and see even more,” comes one of Eldon’s journal entries, causing one to wonder, the only challenge I have is deciding where to start from.
As per the documentary, the film tarries six months back in time when Eldon was graduating from the International School of Kenya. At the age of seven, he was relocated to Nairobi with the hope of pursuing the world through his camera. This is reinforced when Eldon pays a visit to a news agency, and one of the employers remarks, ‘You have to go out in the real world whereabouts, the beer is warm and the smelly purposes are plenty.’
Eldon takes on board this advice and sets off to discover other regions of Africa, troubling his mother (the already strained Maria Bello), who seems to have hopes of Eldon joining a decent British institution like other rich kids.
A mismatched bunch of travelers of different races, who, however, act like a bunch of posh teenagers, accompany him on his travels (they have fun at the fact that starving people have to eat rats to live). He also manages to revolutionize his relationship with a wealthy local whose father subsidizes their expedition.
After a reckless supply run to a Mozambican refugee camp, Eldon, who is now a risk-prone photographer, gets bored with his friends and decides to go solo. To his great fortune, he turns out to be an incredibly fast learner. He manages to slither his way into some of the most notable media coverages, such as the Sothern Africa’s anti-apartheid war, and the rising violence and starvation in Somalia. While moving and shaking in the industry, he also gets some professional and personal contacts. The cool-headed Kelly MacDonald plays a brave photojournalist.
Forces of Nature director Bronwen Hughes captures her camera in a fidgety fashion as if trying to catch up with any activity done by Eldon. Nonetheless, her vision regards nothing of substance. When asked about his motivation from him at a question, he will say what other similarly idiotic figures would say: ‘If there’s something I can do to open people’s eyes, to force the subject to the top of the heap, that’s all I can do.’ But Hughes fails to understand what triggered Eldon’s creative impulses in the first place. Hughes’ fixation with the camera keeps shifting from event to event, which is a claim shifts that Hughes never deeply understands what happened during those events.
For Hughes, it appears art is not his concern. Hughes takes every chance she has to focus on Eldon. A camera is always at hand, capturing every moment. Then why is it that Hughes never uses her camera to gain insight into him as a starting photographer? Hughes’ very broad and general approach depersonalizes Eldon into a typical humanitarian, and not an engaged artist, in spite of Schnetzer giving everything he has.
To watch more movies like The Journey Is the Destination (2016) visit 123movies
Also Watch for more movies like:
