Deliverance

Based on the novel “Deliverance” (James Dickey, 1970), the highly inspired John Boorman delivers a modern classic. In fact, behind the façade of an ordinary adventure film, the director lays out a profound socio-anthropological discussion that leads to a reflection on the consequences of human customs (transformational and productive historical activity) and on the relationship between man and nature.

In that regard, the definite stand-out character is Lewis, whose fanaticism about nature (consistent with the myth of the noble savage, frequently extolled by Rousseau, who tended to consider society as an artificial construct harmful to individual wellbeing) ends up getting ripped to shreds by a reality that turns out to be light years from his naive conceptions.

As the well-known anthropologist Claude Lévi-Strauss asserted, one of the fundamental characteristics of the natural state is its absence of behavioral norms (It’s no coincidence the wild Lewis tries to support his proposal to hide the attacker’s body by sarcastically asking: “The law? What law? Where’s the law, Drew?“); These norms are best represented by the taboo against incest which serves as an absolute prerequisite for the transition to a civilized state (the fact that the local inhabitants display features typically linked with inbreeding is especially significant in that regard).

It follows that, for civilized man, any prospective return to prehistoric conditions would lead to a hellish existence dominated by fear and violence. Along with his social commentary, the director presents a subtle psychological analysis: in fact, particularly in the second part, the film becomes (at first) a genuine study of paranoia, then (towards the end) a study of the weight of remorse. The murder of a sadistic hillbilly and the concurrent getaway of his companion ignite a sort of paranoid psychosis in the four protagonists that will make them feel like they’re being hunted by an invisible enemy (“He could be out there anywhere, watching us right now.“) and will color the way they perceive every event that comes their way (with irreparable consequences).

The cast is in fine fettle, with standout performances by a Burt Reynolds at his physical peak and a young Jon Voight. Stunning cinematography by Vilmos Zsigmond who skillfully captures the splendor of Georgia’s natural beauty.

Three 1973 Oscar nominations: Best Picture, Director, Film Editing.