Una prova difficile

The streaming service Max recently came to Australia after 512 years of waiting, and I was looking through what it had. I mean, it's great if you want to watch most HBO shows, but definitely not all HBO shows (most stuff pre-Sopranos, including Oz and The Larry Sanders Show? Fuggedaboutit). If you want to watch older movies, it's pretty bad. All the ones they have are the sorts most avid film watchers will have already seen, or even own copies of.

But they had White Mile, which I'd never heard of. It turns out it's obscure because it's a TV movie, and a very average one, but the idea of a white-water rafting trip going wrong sounded intriguing, and I like Alan Alda, so I thought, what the heck.

My life has not been made any better or worse by having sat through White Mile. It is a TV movie. It's about workplace imbalances, then it's about the trip going wrong, and then it's a courtroom drama. It doesn't so anything of these things terribly, and it doesn't do any of these things particularly well. White Mile is a TV movie.

Alan Alda realistically portrays an all too common tyrannical boss in this true to life adventure. Companies are self serving, and that combined with a self serving executive proves fatal for five men. Anyone who has worked under such conditions will immediately recognize the plight of only doing something, you obviously feel uncomfortable with, to please a boss. The ill-fated rafting trip exposes Alan Alda's character as manipulative, uncaring, and devoid of conscience. The white water expedition is really well done, and the viewer gets a good idea of just how quickly things can go terribly wrong. Highly recommended. - MERK

Alan Alda is quite effective as a callous, driven head of an advertising agency who in a quest to strengthen the bond between his employees and their clients goes overboard (sic!) with a team-building rafting trip to Chilko River in British Columbia, Canada. Despite typical 1990s TV movie production values, the film offers some intense and complex psychological drama, especially in the final third. And the strong cast give performances that become increasingly effective as the film progresses. Both Alan Alda and the film itself were nominated for Golden Globe awards in the "Made for Television" sub-category.

"White Mile" tells the true story of a driven, success-at-all-cost ad agency executive who puts together a fishing and white water rafting trip for a group of agency and client people so they can bond and make a tenuous business relationship more secure. The trip goes bad when a raft overturns resulting in death and a difficult search through gray areas for a black and white sense of culpability. The film is a solid product given its docudramatic limitations and refuses to be dumbed down and cheapened up for the sake of entertainment. A smart flick with some good messages about the absolute nature of truth, matters of conscience, and just saying "no". (B)

This work relates, speaking in broad terms, a narrative (based upon a true story) of a group of executives that is pressured into taking part in a whitewater raft trip, during which an unfortunate incident occurs. A subsequent lawsuit which addresses the incident completes a good portion of the film. The entire production wants nothing, as all involved perform at a high level. The scenario, by Michael Butler, is stripped neatly to its essence, and immediately engages the viewer with its combination of visceral excitement, suspense, and character development. The direction by the veteran Robert Butler is precise and enhanced by the splendidly balanced casting. Alan Alda gives his finest performance, softly creating a characterization which fascinates as it develops. Among other cast members, Peter Gallagher, Bruce Altman, and Robert Loggia offered nary a flaw in this seamless tale. The scenes immediately leading to, and including, the actual raft trip are enthralling as a test of strength between Alda's character and his companions, a test that reveals varying moral sensibilities. Editing, in a film reflecting issues of larger scope than are commonly seen, provides an important framework; here, a linear structure is created and moves smartly. The cinematography and lighting, under the aegis of Lloyd Ahern II, can be enthusiastically endorsed (with a wide range of scena) as a standard to be envied. The score by Pray For Rain, refreshingly non-DJ, implies applicable emotion neatly and nicely throughout this interesting and beautifully balanced motion picture. An obviously high level of preparation by all involved brings forth one of the finest films of the 90s.