RUNAWAY TRAIN Review – ***½

NOTE: This is not a new review. I originally published it on April 17, 2015.

A perfectly descriptive title for a singular thriller. Even its genesis is fascinating; Akira Kurosawa developed the script in the 60s, meaning for it to be his English-language debut, but various issues left it to be reworked and filmed 20 years later, produced by 80s schlockmeisters Golan-Globus, directed by Andrei Konchalovsky, a former collaborator of Tarkovsky’s! Despite critical acclaim and three Oscar nominations*, it was a flop and is not well-remembered, but it’s a fascinatingly dark and unique film.

A notorious convict, Manny (Jon Voight), literally welded in his cell for years, wins an appeal against Warden Ranken (John P. Ryan), and effects his escape with the help of Buck (Eric Roberts), who insists on joining him. They flee across the tundra (we’re in Alaska, by the way) and make their way to a railyard, where they hop a train. The engineer has a heart attack and falls off, allowing the train to run down the tracks, gathering speed and proving an ever greater danger.

As the rail company tries to figure out what to do, Ranken follows in pursuit. As Manny and Buck realize what’s going on, they encounter Sara (Rebecca DeMornay), a rail worker trapped on board, and they argue about what to do, their arguments turning violent and philosophical by turns.

The Polish poster, which I can’t parse but which is so wild I have to include it.

The film ends with lines from Richard III: “No beast so fierce but knows some touch of pity.”/”But I know none, and therefore am no beast.” Manny, when called an animal by Sara, responds, “Worse! Human!” It’s a meditation on man’s inhumanity to man, like Melancholia filtered through the prism of a situation the protagonists cannot control. It does not cop out at the end, and while I won’t spoil what happens, like the “magic cave” at Melancholia‘s end, it shows the essence of humanity to be taking what control we can of a no-win scenario, even as we know our infinitesimal limits.

Voight and Roberts were nominated for Oscars, and both are excellent; Konchalovsky’s direction is bluntly fierce, and the script is appreciably ambitious if imperfect. That so many of the principals suffered subsequent career declined is unfortunate, but it doesn’t diminish this fascinating film.

Score: 83

*The third nomination was for Best Film Editing.