Truth can certainly be stranger than fiction. If you look toward the Telluride Film Festival, it might also be stronger.
While the rest of Hollywood turns to far-fetched fantasies of flying superheroes, impossible romances and talking toys, the filmmakers behind the standout movies at the Colorado festival are finding that some of the year's most powerful stories can be found in real-life events.
That's obviously the case with Telluride's esteemed documentaries, but three of the most enthusiastically received dramatic features at the just-concluded festival - the world premieres of "The King's Speech," "127 Hours" and "The First Grader" - are based on the extraordinary accomplishments of actual people.
A number of the festival's other prominent new features, including "The Way Back," "Of Gods and Men," "Carlos" and "Incendies," also have historical events undergirding their foundations.
The narrative allure of such stories is easy. When moviegoers see the words "Based on a true story" just as a film commences, they might grant a movie prospective empathy - the audience is more willing to welcome, both intellectually and emotionally, what it is about to see. That connection was a powerful wave pushing last year's "The Blind Side."
Yet any director or writer who strays too far from the factual path can be condemned for fast-and-loose filmmaking. "A Beautiful Mind" was nearly derailed when its makers sanded off several rough patches in mathematician John Nash's personal life, and "The Hurricane" was knocked out for its liberties with boxer Rubin Carter.
"I remember thinking after '3000 Degrees' that I'll never do another real-life story," Danny Boyle, the director and co-writer of "127 Hours," said of a proposed movie about a Massachusetts firefighting tragedy that fell apart on the eve of production over life-rights issues. "It's just too complicated. You don't have control over the material."
Creative but honest
Yet when that true-life material is irresistible, filmmakers can find a way to make a film that is both creatively inventive and factually honest.
The people at the center of "The King's Speech," "127 Hours" and "The First Grader" could barely be more disparate. The first film, directed by Tom Hooper ("The Damned United"), focuses on King George VI, the World War II monarch who struggled to overcome a crippling speech impediment.
"127 Hours," the new movie from Boyle (who premiered "Slumdog Millionaire" in Telluride two years ago) recounts the experience of Aron Ralston, who amputated his own hand and forearm when pinned by a falling boulder.
And "The First Grader," from director Justin Chadwick ("The Other Boleyn Girl"), profiles an illiterate 84-year-old Kenyan villager who, after the government promised free education for all, hobbled into an elementary school and wouldn't leave until he could learn to read.
As unalike (and, outside of Ralston, as potentially unfamiliar) as their stories might be, the characters share an against-all-odds quest that ultimately unites the cheering spectator with the journey.
"The main thing was that it was uplifting," Chadwick says of his interest in telling the story of "first-grader" Nganga Maruge, a tale that came to filmmakers' attention in a Los Angeles Times article. "You have to make something that is relevant these days, and it was a really good story."
The value of accuracy
Chadwick shot his film - which stars the African actor Oliver Litondo as Maruge and England's Naomie Harris as his determined teacher, Jane Obinchu - in a remote Kenyan village with no electricity or running water and populated the cast with 200 local schoolchildren, most of whom had never seen a movie or TV show.
While Chadwick and screenwriter Ann Peacock ("A Lesson Before Dying") made changes to the story (Obinchu in the movie is younger, there's a radio announcer adding jokes and exposition), the movie tried to get geographic and historical details as accurate as possible.
Boyle says that though it's easy to look at Ralston's story as an unimaginable demonstration of superhumanism, he believes that we are all capable of doing the same thing if the situation demanded it. So at many turns throughout "127 Hours," he and screenwriter Simon Beaufoy ("Slumdog Millionaire") excised scenes that created barriers between Ralston (James Franco) and the audience, adding sequences that connected the trapped hiker to the rest of the world, crowd scenes and memories of an old girlfriend designed to be a magnet helping to pull him free. "It may not be factual," Boyle says of some of the added sequences, "but it's truthful."
The film preserves verbatim some of what Ralston says into his video camera, including a disorderly farewell to his parents, because it gives "127 Hours" a verisimilitude that polished scripting might lack. "It's so slightly awkwardly written - a proper dramatist would never write the speech that way," Boyle says. "But it felt very natural to leave it like that."