I avoid comparisons between films and books, even (or especially) when it comes to screen adaptations of more or less well-known books. Film and literature are arts that work 90% with different materials. In the case of the 2023 film by director Sam Esmail ‘Leave the World Behind’, the reference to the book is inevitable, but here too I will refrain from comparisons. I will just say that the fact that I read Rumaan Alam‘s (deservedly) successful novel of the same name, published in 2020, put me at a certain disadvantage. It is a fairly faithful adaptation, in spirit and even in details, and knowing the formidable idea of the book, some of the pleasure of surprise was stolen from me. Be assured that since most viewers have not read the book, – and even if they have – there are enough good reasons to choose to see watch this film. Especially nowadays.
Without going into too much detail, I will say that ‘Leave the World Behind’ proposes yet another version of the end of the world. Do we, as viewers, still have the strength for another one? Rumaan Alam‘s book appeared at the beginning of the pandemic and was one of the editorial successes of that strange period. The novel was adapted for the screen and the film was made during the pandemic. The release on screens and streaming viewings take place in years that some consider to be another form of the end of the world. The variations seem inexhaustible. The story of the Sandford family (parents with two teenage children) who choose to spend a weekend in a villa on Long Island far enough from the city to hope disconnect and close enough to see the silhouette of Manhattan on the horizon, can be interpreted as a parable. Strange phenomena begin to occur. A huge ship runs aground on the shore. Forest animals approach people’s homes menacingly (the deer symbol is known from several European films). Internet connections drop, television stations broadcast emergency messages and then they disappear too. The appearance of a pair of strangers (daughter and father) who declare themselves the owners of the house complicates the situation and loads the atmosphere with the social and the racial tensions from the world that may have ceased to exist.
The narrative is interesting enough to maintain permanent interest and tension. The main problem of the film is the excessive verbosity of some dialogues, which diminishes the effectiveness of the cinematography. Sam Esmail is quite expressive visually and could have relied more on the cinematography. It is not necessary for a character like Clay Sandford to explicitly say ‘I am useless without Internet and GSM’ to understand that this is the situation. Fortunately, the actors are experienced and talented enough to express themselves also and better through gestures and silences. Julia Roberts creates one of her best roles, an almost negative role, in which she seems dry, unsympathetic and asocial until the moment her shell breaks. Ethan Hawke is also a great cast for his role. Mahershala Ali and Myha’la are fine in the roles of the pair of visitors – owners. Together, they live an adventure in which they involve the audience even against their will. The outside world falls apart, the routine pleasures and comforts of life disappear and the micro-universe of characters who try to find their cohesion to understand what is happening is in danger. A survival film can begin after the final scene.