THE STORY – Slow-witted Forrest Gump has never thought of himself as disadvantaged, and thanks to his supportive mother, he leads anything but a restricted life. Whether dominating on the gridiron as a college football star, fighting in Vietnam or captaining a shrimp boat, Forrest inspires people with his childlike optimism. But one person Forrest cares about most may be the most difficult to save — his childhood love, the sweet but troubled Jenny.
THE CAST – Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson & Sally Field
THE TEAM – Robert Zemeckis (Director) & Eric Roth (Writer)
THE RUNNING TIME – 142 Minutes
It’s hard to imagine too many scenarios in which receiving critical acclaim and financial success would be detrimental to any film’s legacy. Yet, for some works of cinema, it can carry an uneasy burden as the years march along. Suddenly, there is more scrutiny towards this movie because the popular culture has raised its profile to what seems like an unfathomable degree. Some works are able to sustain the barrage, with the appreciation never subsiding. It’s not a fate that many endure, and most films will suffer a diminishing return as people look at them with a more discerning perspective. “Forrest Gump” has seen a whole host of recalibration since its heralded debut thirty years ago. What was once perceived as a triumphant crowd-pleaser has certainly been introduced to more contrasting opinions. Looking back on it now, I see much to appreciate from its performances and crafts. Yet, the storytelling has a hollowness that cannot wholly mask a more insidious undercurrent that has only spoiled even more throughout the years.
This film aims to tell the extraordinary life of the titular Forrest Gump (Tom Hanks), a man of simple thoughts and simple ambitions who cannot seem to be barred from recounting the many events he’s experienced to the random strangers sharing the bench at a bus stop. He goes through nearly every chapter, starting with his meager childhood in 1950s Alabama under the care of his devoted mother (Sally Field). He soon becomes friends with Jenny (Robin Wright), who will soon become the unrequited love of his life. However, their paths in life divide drastically as they get older. Forrest enlists in the army right after his football college days come to an end, and Jenny finds herself embedded more in political protests. In Vietnam, Forrest becomes endeared to fellow soldier Bubba (Mykelti Williamson) and Lieutenant Dan Taylor (Gary Sinise). He continues to drift through major political events of American history, observing massive moments but still keeping the same childlike perspective he’s always maintained and significantly influencing those around him.
These days, it can be difficult to remember what exactly made Robert Zemeckis such an intriguing filmmaker. His latest output has left much to be desired, as his fascination with new technology has clearly become a higher priority than his attention to storytelling. However, there was a time when he was capable of balancing both, and many sequences in this film serve as that reminder. While some of the effects may look dated by modern standards, given that context, it is still impressive how monumental they still come across. Zemeckis uses the filmmaking to create a world that is tethered to a nostalgic past while also attempting to make these consequential moments feel visceral. He’s aided by the insertion of the main character into archival footage, but there is a vastness to the picturesque scenery that is a marvel to witness. There is a lack of wonder that is present in works like “Back to the Future” and “Who Framed Roger Rabbit,” but there is a somewhat endearing spirit that is maintained.
The larger issue that plagues the film is the narrative crafted by Eric Roth. On the surface, one can reach an interpretation of a rather slight tale of a man stumbling into great events and how he charms his way through every interaction. On that front, you get a screenplay that is compelling to a point. Yet, the segmented chapters don’t help a great deal in terms of the momentum, and the characterizations are often broadly drawn. Still, it is hard not to look past the thematic commentary that seems to endorse a conservative ideal. It is noteworthy that the main character is one who blindly follows every authority figure with absolutely no regard for individuality and protest, while his counterpart, Jenny, rebels against such institutions. For their troubles, he is rewarded with fame and fortune, while she is punished with a difficult life and a tragic death. Whether intended or not in Roth’s screenplay, it’s difficult to overlook such crass political observations. It cloaks the story with an alarming cynicism regarding those during this time who chose to speak out against injustice as if the very act itself leads to a life of self-destruction that can only be healed when returning to traditionalist values. The messaging sadly taints much of what should be an uplifting atmosphere despite the effective emotional scenes that are featured.
You really can’t find a more charismatic and engaging actor than Tom Hanks. His screen presence is instantly palpable, and the way he is able to carry the whimsical bewilderment of Forrest is what makes it such an alluring performance. There are notes of Peter Sellers’s work in “Being There” laced within this character, and Hanks is able to capture that spirit in an engrossing manner. Even still, he may not even be the film’s best performance. Sinise is absolutely enthralling in his role, immediately showcasing a fiery and combative energy that is playful enough to be charming. When devastation is wrought upon him, the hurt and sadness that creeps in is completely shattering, and he delivers an effectively powerful turn. It is also near impossible for Field to give a performance that is anything less than intriguing, and she shines with such a warm aura that it is impossible not to be taken with.
It is a shame that Wright is saddled with such a poor character because she manages to hold on to her own despite the material. It’s especially nice that she shares such dynamic chemistry with Hanks, making the budding romance between them seem genuine and sweet. It’s a herculean task she is given to try and make such a poorly written character come alive with some kind of vigor. Unfortunately, she doesn’t always rise to that occasion, but it’s an admirable attempt, and she is as convincing as can be. She certainly fares much better than Williamson, who may have his own level of charm but has an even broader caricature to portray. His final moments with Hanks on the beach are moving but in service of a problematic foundation.
When analyzing the ultimate endurance that “Forrest Gump” has left in the decades since it first came out, it’s obvious that approaching it with a more inquisitive perspective leaves it with a much shallower impact than it did upon its initial release. It has admirable qualities: the crafts are still impressive, and most of the performances are captivating to watch. Yet, the story is what hangs like an albatross around the neck. The construction is fairly mundane, but the worldview it possesses, whether intentionally endorsed or not, is severely off-putting. These qualities even extend to other performances; try as they might to overcome these limitations. While it may be easy to understand how it was so popular then, that power has dramatically diminished over time.
