Into the Wild (2007)
Into the Wild (Book)
From Wikipedia, the free encyclopedia
Cover of paperback, depicting the bus in which
McCandless stayed before his death.
Author
Jon Krakauer
Country
United States
Language
English
Genre(s)
Biography
Publication date
1996
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Into the Wild is a 1996 non-fiction book written by Jon Krakauer. The book depicts the two-year
wilderness trek of Christopher McCandless from 1990 through 1992 and is an expansion of
Krakauer's 9,000-word article, "Death of an Innocent", which appeared in the January 1993 issue of
Outside. The book was adapted into a 2007 movie of the same name directed by Sean Penn with
Emile Hirsch starring as McCandless.
Background
Chris McCandless grew up in suburban Annandale, Virginia. After graduating in 1990 with high
grades from Emory University, McCandless ceased communicating with his family, gave away his
savings of approximately $25,000 to Oxfam and began traveling, later abandoning his car.
In April 1992, McCandless hitchhiked to the Stampede Trail in Alaska. There, McCandless headed
down the snow-covered trail to begin an odyssey with only 10 pounds of rice, a .22 caliber rifle,
several boxes of rifle rounds, a camera, and a small selection of reading material — including a field
guide to the region's edible plants, Tana'ina Plantlore. He declined an acquaintance's offer to buy him
sturdier clothing and better supplies. After surviving more than 100 days, he died sometime in August
and his body was found, in early September, by a couple and a group of moose hunters.
Summary
The book begins with the discovery of McCandless's body inside an abandoned bus in Alaska and
retraces his travels during the two years after college graduation. McCandless shed his real name early
in his journey, adopting the moniker "Alexander Supertramp". He spent time in Carthage, South
Dakota laboring for months in a grain elevator owned by Wayne Westerberg before impulsively
hitchhiking for Alaska. Krakauer interprets McCandless's intensely ascetic personality as possibly
influenced by the writings of Leo Tolstoy, Henry David Thoreau, and perhaps McCandless's favorite
writer, Jack London. He explores the similarities between McCandless's experiences and motivations
and his own as a young man, recounting in detail Krakauer's own attempt to climb Devils Thumb in
Alaska. Krakauer also relates the stories of some other young men who vanished into the wilderness,
such as Everett Ruess, an artist and wanderer who went missing in the Utah desert during 1934 at age
20. In addition, he describes at some length the grief and puzzlement of McCandless's parents, sister,
and friends, particularly an aged man named Ronald Franz who had befriended McCandless in the
Mohave Desert and was very fond of him.
McCandless survived for approximately 112 days in the Alaskan wilderness, foraging for edible roots
and berries, shooting an assortment of game—including a moose—and keeping a journal. Although he
planned to hike to the coast, the boggy terrain of summer proved too difficult and he decided instead
to camp in a derelict bus. In July, he tried to leave, only to find the route blocked by a melted river
(tragically unfortunate as there was a hand powered tram just upstream). On July 30, McCandless
wrote a journal entry which reads, EXTREMLY WEAK. FAULT OF POT. SEED... Krakauer
hypothesized that McCandless had been eating the roots of Hedysarum alpinum, a historically edible
plant commonly known as wild potato (also "Eskimo potato"), which are sweet and nourishing in the
spring but later become too tough to eat. When this happened, McCandless may have attempted to eat
the seeds instead. Krakauer suggests that the seeds contained a poisonous alkaloid, possibly
swainsonine (the toxic chemical in locoweed) or something similar. In addition to neurological
symptoms such as weakness and loss of coordination, the poison causes starvation by blocking
nutrient metabolism in the body. In the film adaptation by Sean Penn in 2007 it shows Chris confusing
two different plants, and he chooses the wrong one.
According to Krakauer, a well-nourished person might consume the seeds and survive because the
body can use its stores of glucose and amino acids to rid itself of the poison. Since McCandless lived
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on a diet of rice, lean meat, and wild plants and had less than 10% body fat when he died, Krakauer
theorized he was likely unable to fend off the toxins. However, when the Eskimo potatoes from the
area around the bus were later tested in a laboratory of the University of Alaska Fairbanks by Dr.
Thomas Clausen, toxins were not found. Krakauer later modified his hypothesis, suggesting that mold
of the variety Rhizoctonia leguminicola may have caused McCandless's death. Rhizoctonia
leguminicola is known to cause digestion problems in livestock, and may have aided McCandless's
impending starvation. The exact cause of the young man's death remains open to question but it
appears that he most likely simply starved to death, a theory backed by the fact that McCandless's
body weighed an estimated 67 pounds (30 kg) at the time he was found.
Film adaptations
The film adaptation of the same name emphasizes, and in some cases exaggerates, certain aspects of
personal relationships that McCandless experienced, including his parents' domestic conflicts and his
own interaction with a 16-year-old girl he encountered in his travels. Other interactions portrayed in
the film, however, seem very accurate based on Krakauer's research, including the characters of Jan
Burres, played by Catherine Keener, and "Ronald Franz" (pseudonym), played by Hal Holbrook. The
movie's depiction of McCandless's death differs from the reality of his simply having starved to death
due to low caloric intake. Penn shows McCandless confusing the seeds of H. alpinum with those of
the toxic H. mackenzii.
McCandless's story is also the subject of a 2007 documentary by Ron Lamothe named The Call of the
Wild. In his study of McCandless's death, Lamothe concludes that McCandless starved to death and
was not poisoned by eating the seeds of the wild potato. A survival show set in Alaska, entitled Out of
the Wild, is inspired by the story.
Into the Wild (film)
Original theatrical poster
Directed by
Sean Penn
Sean Penn
Produced by
Art Linson
William Pohlad
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Written by
Sean Penn
Jon Krakauer (novel)
Jena Malone
Narrated by
Sharon Olds
Carine McCandless
Emile Hirsch
Marcia Gay Harden
William Hurt
Starring
Jena Malone
Catherine Keener
Vince Vaughn
Kristen Stewart
Hal Holbrook
Michael Brook
Music by
Kaki King
Eddie Vedder
Release date(s)
September 21, 2007
Running time
148 minutes
Into the Wild is a 2007 American drama film by Sean Penn based on the 1996 non-fiction book of the
same name by Jon Krakauer about the adventures of Christopher McCandless. The film stars Emile
Hirsch, William Hurt and Marcia Gay Harden. The film premiered during the Rome Film Fest and
later opened outside of Fairbanks, Alaska in September 2007.
Plot
In 1990, Christopher McCandless (Emile Hirsch), a college graduate from Emory University, rejects a
materialist, conventional life, and his parents Walt (William Hurt) and Billie McCandless (Marcia
Gay Harden), who McCandless perceives as having betrayed him. McCandless destroys all of his
credit cards and identification documents, donates $24,000 (nearly his entire savings) to Oxfam, and
sets out on a cross-country drive in his well-used, but reliable Datsun toward his ultimate goal:
Alaska, to experience life in the wilderness. However, McCandless does not tell his family nor his
sister Carine, (Jena Malone), what he is doing or where he is going and does not communicate with
them thereafter, leaving them to become increasingly anxious and eventually desperate.
Along the way his automobile is caught in a flash flood and he abandons it to hitchhike after burning
what remains of his dwindling cash supply at the side of Lake Mead, Arizona. He then assumes a new
name: Alexander Supertramp. Along his travels, he encounters a hippie couple Jan Burres (Catherine
Keener) and Rainey (Brian H. Dierker), with whom he forms a friendship. As McCandless continues
his travels, he decides to work for a contract harvesting company owned by Wayne Westerberg (Vince
Vaughn). However he is forced to leave after Westerberg is arrested for satellite piracy. McCandless
then travels to the Colorado River and when he is told by police that he may not kayak down the river
without a license, he ignores their warnings, acquires a Perception Sundance 12 open-water kayak and
paddles downriver, eventually all the way into Mexico. There his kayak is lost in a sandstorm and he
crosses back into the United States on foot. Unable to easily hitchhike, he starts traveling via freight
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train to Los Angeles. Not long after arriving, however, he starts feeling "corrupted" by modern
civilization and decides to leave. Later, McCandless is forced to switch his traveling method back to
hitchhiking after he is treated roughly by freight train security.
McCandless then arrives at a hippie commune, Slab City and encounters Jan and Rainey again. At the
commune, he meets Tracy Tatro (Kristen Stewart), an attractive teenage girl who is attracted to
McCandless and flirts with him. After some time, McCandless decides to continue heading for
Alaska, much to everyone's sadness. McCandless then encounters a retired but lonely leather worker,
Ron Franz (Hal Holbrook) in Salton City, California. After spending several months with Franz,
McCandless decides to leave for Alaska and Franz gives him camp and travel gear. Franz offers to
adopt McCandless as his grandchild, but McCandless tells him that they should discuss this after
McCandless returns from Alaska and Franz becomes extremely saddened by his departure.
Nearly two years after leaving his family, McCandless crosses a stream in a remote area of Alaska and
sets up camp in an abandoned Fairbanks Transit bus which was placed as a shelter for moose hunters.
Initially McCandless is exhilarated by the isolation, the beauty of nature around and the thrill of living
off the land as the spring thaw arrives. He hunts and gathers, and reads books, and keeps a diary of his
thoughts. However life becomes harder; his supplies start to run out and although he kills a moose he
does not know the correct process for smoking the meat; as a result it is all spoiled and infested with
flies and maggots. He realizes that nature is also harsh and uncaring. Ultimately on his journey of selfdiscovery, he concludes that true happiness can also be found in sharing, and in the joy of realization
seeks to return from the wild to his friends and family.
However, to his despair, McCandless finds that the stream that he crossed has become wide, deep and
violent due to the thaw and he cannot return. He is forced to return to the bus-shelter but now as a
prisoner; having previously insisted on being self-sufficient he is no longer in control of his fate and
can only hope for help from the outside. As his supplies run out he is forced to gather and eat roots
and plants. He has a book to help him to distinguish edible from inedible, but he confuses similar
plants and becomes violently ill as a result. He slowly and painfully starves. In his final hours, he
continues to document his process of self-realization and accepts his fate, as he imagines his friends
and family for a final time.
The epilogue occurs two weeks after his death when his body is found by moose hunters. The movie
ends with a picture of him, found undeveloped in his camera from before he died. It tells that his sister
carried his ashes from Alaska to the eastern seaboard by plane with the ashes in her backpack.
Cast
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Salvation Mountain where Chris and Tracy took a walk.
 Emile Hirsch as Christopher McCandless / "Alexander Supertramp"
 Marcia Gay Harden as Billie McCandless, mother of Chris
 William Hurt as Walt McCandless, father of Chris
 Jena Malone as Carine McCandless, younger sister of Chris
 Catherine Keener as Jan Burres, a hippie woman in California
 Brian H. Dierker as Rainey, a hippie man in California
 Vince Vaughn as Wayne Westerberg, owner of "Westerberg Harvesting & Grain Service" in
South Dakota
 Zach Galifianakis as Kevin, a friend of Wayne's
 Kristen Stewart as Tracy Tatro, a girl in Slab City, California
 Hal Holbrook as Ron Franz, an elderly man in Salton City, California
 Thure Lindhardt as Mads, a Danish man in Colorado River
 Signe Egholm Olsen as Sonja, a Danish woman in Colorado River
 Jim Gallien as Himself
 Leonard Knight as Himself
Filming
The scenes of graduation from Emory University in the film were shot in the fall of 2006 on the front
lawn of Reed College. Some of the graduation scenes were also filmed during the actual Emory
University graduation on May 15, 2006. The Alaska scenes depicting the area around the abandoned
bus on the Stampede Trail were filmed 50 miles south of where McCandless actually died, in the tiny
town of Cantwell. Filming at the actual bus would have been too remote for the technical demands of
a movie shoot. The production made four separate trips to Alaska to film during different seasons.
Release
Critical Reception
Into the Wild earned strong reviews from critics. The review aggregator Rotten Tomatoes reported
that 82% of 155 reviews of the film were positive, resulting in a "Certified Fresh" rating. Metacritic
assigned the film an average score of 73 out of 100, based on 38 reviews from mainstream critics.
Roger Ebert of the Chicago Sun-Times gave the film four stars out of four and described the film as
"spellbinding". Ebert wrote that Emile Hirsch gives a "hypnotic performance", saying: "It is great
acting, and more than acting". Ebert said, "The movie is so good partly because it means so much, I
think, to its writer-director", Sean Penn.
The American Film Institute listed the film as one of ten AFI Movies of the Year for 2007.
National Board of Review named it one of the Top Ten Films of the Year.
Into the Wild also ranks 473rd in Empire magazine's 2008 list of the 500 greatest movies of all time.
Top ten lists
The film appeared on many critics' top ten lists of the best films of 2007.
1st: Ben Lyons, The Daily 10
2nd: Ann Hornaday, The Washington Post
2nd: Tasha Robinson, The A.V. Club
3rd: James Berardinelli, ReelViews
3rd: Kevin Crust, Los Angeles Times
3rd: Peter Travers, Rolling Stone
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4th: Kyle Smith, New York Post
5th: Claudia Puig, USA Today
5th: David Germain, Associated Press
5th: Joe Morgenstern, The Wall Street Journal
6th: Carrie Rickey, The Philadelphia Inquirer
6th: Steven Rea, The Philadelphia Inquirer
7th: A.O. Scott, The New York Times (tied with The Diving Bell and the Butterfly)
7th: Noel Murray, The A.V. Club
9th: Christy Lemire, Associated Press
10th: Roger Ebert, Chicago Sun-Times
Awards
Wins

65th Golden Globe Awards
o Best Original Song - Motion Picture
("Guaranteed, Eddie Vedder")

National Board of Review
o Breakthrough Performance - Male
(Emile Hirsch)

Gotham Awards
o Best Feature Film

Rome Film Feast
o Jury Award (William Pohlad), (Art
Linson), (Sean Penn)

Mill Valley Film Festival
o Best Actor (Emile Hirsch)

São Paulo International Film Festival
o Best Foreign Language Film (Sean
Penn)

Italian Online Movie Awards
o Best Motion Picture Of The Year
o Best Motion Picture soundtrack

Costume Designers Guild Awards
o Excellence in Costume Design for
Film - Contemporary

Film Critics Circle of Australia Awards
o Best Foreign Film - English
Language (Sean Penn)

Grammy Awards
o Best Song Written for Motion
Picture, Television or Other Visual
Media ("Guaranteed")

Gotham Awards
o Breakthrough Award (Emile
Hirsch)

Satellite Awards

Palm Springs International Film Festival
o Director of the Year Award (Sean
Penn)
o Rising Star Award Actor (Emile
Hirsch)
Nominations

80th Academy Awards
o Best Supporting Actor (Hal
Holbrook)
o Best Film Editing (Jay Cassidy)

65th Golden Globe Awards
o Best Original Score - Motion
Picture (Michael Brook, Kaki King,
Eddie Vedder)

American Cinema Editors
o Best Edited Feature Film Dramatic (Jay Cassidy)

Broadcast Film Critics Association
o Best Film
o Best Actor (Emile Hirsch)
o Best Supporting Actor (Hal
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o
o
o
o
Holbrook)
Best Supporting Actress (Catherine
Keener)
Best Director (Sean Penn)
Best Writer (Sean Penn)
Best Song ("Guaranteed, Eddie
Vedder")

Chicago Film Critics Association
Awards
o Best Picture
o Best Screenplay - Adapted (Sean
Penn)
o Best Supporting Actor (Hal
Holbrook)

Directors Guild of America Awards
o Best Director - Film (Sean Penn)

Cinema Audio Society
o Outstanding Achievement in Sound
Mixing for Motion Pictures
o
Best Original Song ("Rise")

Screen Actors Guild Awards
o Outstanding Performance by a Cast
in a Motion Picture
o Outstanding Performance by a Male
Actor in a Leading Role (Emile
Hirsch)
o Outstanding Performance by a Male
Actor in a Supporting Role (Hal
Holbrook)
o Outstanding Performance by a
Female Actor in a Supporting Role
(Catherine Keener)

USC Scripter Award
o USC Scripter Award (Sean Penn)
(screenwriter), (Jon Krakauer)
(author)

Writers Guild of America Awards
o Best Adapted Screenplay (Sean
Penn)
Box office
In North America, Into the Wild initially opened in limited release, in four theaters and grossed
$212,440, posting a per-theater average of $53,110. For the next several weeks, the film remained in
limited release until it expanded to over 600 theaters on October 19, 2007; in its first weekend of wide
release, the film grossed just $2.1 million for a per-theater average of $3,249. As of December 25,
2008, the film has grossed $18,354,356 domestically and $37,281,398 internationally. In total, the
film has grossed $55,635,754 worldwide.
Home media
Into the Wild was released on March 4, 2008 on standard DVD, Two-Disc Special Collector's Edition
DVD, and standard HD DVD. The special edition DVD and HD DVD contain two special features
entitled The Story, The Characters and The Experience. The Blu-ray Disc edition was released in
France on July 16, 2008. The Blu-ray edition for the US was released on December 16, 2008. The UK
Blu-ray was released on July 20, 2009.
Soundtrack
The songs on the soundtrack were performed by Eddie Vedder, guitarist and lead singer of Pearl Jam
and Jerry Hannan. Vedder won a Golden Globe for Best Original Song for the song "Guaranteed".
The score was written and performed by Michael Brook and Kaki King. The music at the end of the
theatrical trailer is "Acts of Courage" by X-Ray Dog, a company that supplies music for many movie
trailers.
Retrieved from http://en.wikipedia.org/wiki/Into_the_Wild_(film)
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Plot Summary (imdb)
Based on a true story. After graduating from Emory University, top student and athlete Christopher
McCandless abandoned his possessions, gave his entire $24,000 savings account to charity and
hitchhiked to Alaska to live in the wilderness. Along the way, Christopher encounters a series of
characters who shape his life. Written by Lisa Kelley
Memorable Quotes
Christopher McCandless: I read somewhere... how important it is in life not necessarily to be strong... but to
feel strong.
Christopher McCandless: I'm going to paraphrase Thoreau here... rather than love, than money, than faith,
than fame, than fairness... give me truth.
Christopher McCandless: Some people feel like they don't deserve love. They walk away quietly into empty
spaces, trying to close the gaps of the past.
Christopher McCandless: I'm supertramp.
[looks at apple]
Christopher McCandless: and you're super apple!
Christopher McCandless: If we admit that human life can be ruled by reason, then all possibility of life is
destroyed.
Christopher McCandless: The core of mans' spirit comes from new experiences.
Christopher McCandless: What if I were smiling and running into your arms? Would you see then what I see
now?
Rainey: You're an industrious little fucker aren't cha?
Ranger Steve Koehler: Next available is May 17, 2003.
Christopher McCandless: 12 years? Twelve years - to paddle down a river?
Ron Franz: I'm going to miss you when you go.
Christopher McCandless: I will miss you too, but you are wrong if you think that the joy of life comes
principally from the joy of human relationships. God's place is all around us, it is in everything and in anything
we can experience. People just need to change the way they look at things.
Ron Franz: Yeah. I am going to take stock of that. You know I am. I want to tell you something. From bits and
pieces of what you have told me about your family, your mother and your dad... And I know you have problems
with the church too... But there is some kind of bigger thing that we can all appreciate and it sounds to me you
don't mind calling it God. But when you forgive, you love. And when you love, God's light shines through you.
Christopher McCandless: Holy shit!
Christopher McCandless: Mr. Franz I think careers are a 20th century invention and I don't want one.
Christopher McCandless: When you want something in life, you just gotta reach out and grab it.
Christopher McCandless: If I wanted to paddle down the river, where's the best place to launch out of?
Ranger Steve Koehler: To *launch* out of?
Christopher McCandless: [written into book] Happiness only real when shared.
Christopher McCandless: You are the apple of my eye.
Wayne Westerberg: Outdoorsman. What's your fascination with all that stuff?
Christopher McCandless: I'm going to Alaska.
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Wayne Westerberg: Alaska, Alaska? Or city Alaska? Because they do have markets in Alaska. The city of
Alaska. Not in Alaska. In the city of Alaska, they have markets.
Christopher McCandless: No, man. Alaska, Alaska. I'm gonna be all the way out there, all the way fucking out
there. Just on my own. You know, no fucking watch, no map, no axe, no nothing. No nothing. Just be out there.
Just be out there in it. You know, big mountains, rivers, sky, game. Just be out there in it, you know? In the
wild.
Wayne Westerberg: In the wild.
Christopher McCandless: Just wild!
Wayne Westerberg: Yeah. What are you doing when we're there? Now you're in the wild, what are we doing?
Christopher McCandless: You're just living, man. You're just there, in that moment, in that special place and
time. Maybe when I get back, I can write a book about my travels.
Wayne Westerberg: Yeah. Why not?
Christopher McCandless: You know, about getting out of this sick society. Society!
Wayne Westerberg: [coughs] Society! Society!
Christopher McCandless: Society, man! You know, society! Cause, you know what I don't understand? I don't
understand why people, why every fucking person is so bad to each other so fucking often. It doesn't make
sense to me. Judgment. Control. All that, the whole spectrum. Well, it just...
Wayne Westerberg: What "people" we talking about?
Christopher McCandless: You know, parents, hypocrites, politicians, pricks.
Wayne Westerberg: [taps Chris' head] This is a mistake. It's a mistake to get too deep into all that kind of stuff.
Alex, you're a hell of a young guy, a hell of a young guy. But I promise you this. You're a young guy! Can't be
juggling blood and fire all the time!
Christopher McCandless: You don't need human relationships to be happy, God has placed it all around us.
Christopher McCandless: Two years he walks the earth. No phone, no pool, no pets, no cigarettes. Ultimate
freedom. An extremist. An aesthetic voyager whose home is the road. Escaped from Atlanta. Thou shalt not
return, 'cause "the West is the best." And now after two rambling years comes the final and greatest adventure.
The climactic battle to kill the false being within and victoriously conclude the spiritual pilgrimage. Ten days and
nights of freight trains and hitchhiking bring him to the Great White North. No longer to be poisoned by
civilization he flees, and walks alone upon the land to become lost in the wild. - Alexander Supertramp May
1992
Christopher McCandless: The sea's only gifts are harsh blows, and occasionally the chance to feel strong.
Now I don't know much about the sea, but I do know that that's the way it is here. And I also know how
important it is in life not necessarily to be strong but to feel strong. To measure yourself at least once. To find
yourself at least once in the most ancient of human conditions. Facing the blind death stone alone, with nothing
to help you but your hands and your own head.
Christopher McCandless: The freedom and simple beauty is too good to pass up...
[first title card]
Title Card: There is a pleasure in the pathless woods; / There is a rapture on the lonely shore; / There is
society, where none intrudes, / By the deep sea, and music in its roar; / I love not man the less, but Nature
more... / - Lord Byron
[first lines]
Christopher McCandless: Mom! Mom! Help me.
[last lines]
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Christopher McCandless: What if I were smiling and running into your arms? Would you see then what I see
now?
[last title cards]
Title Card: In memory / Christopher Johnson McCandless / February 12, 1968 - August 18, 1992
Title Card: Two weeks after Chris's death, moose hunters discovered his body in the bus.
[This self-portrait was found undeveloped in his camera]
Title Card: On September 19, 1992, Carine McCandless flew with her brother's ashes from Alaska to the
eastern seaboard. She carried them with her on the plane... in her backpack.
Title Card: The filmmakers thank Jon Krakauer for his guidance and gratefully acknowledge Walt, Billie,
Carine and the entire McCandless family for their brave support in the making of this film.
Ron Franz: What does the "N" stand for?
Christopher McCandless: North.
Ron Franz: [sounding surprised and frustrated] Alaska?
Rainey: That poor girl's just about ready to vault herself onto your fencepost.
Christopher McCandless: It should not be denied that being footloose has always exhilarated us. It is
associated in our minds with escape from history and oppression and law and irksome obligations. Absolute
freedom. And the road has always led west.
Christopher McCandless: You are really good. I mean, you're like, a hundred thousand times better than like
any apple I've ever had. I'm not Superman, I'm Supertramp and you're super apple. You're so tasty, you're so
organic, so natural. You are the apple of my eye, ha!
Carine McCandless: [voice-over] The year Chris graduated high school, he bought the Datsun used and drove
it cross-country. He stayed away most of the summer. As soon as I heard he was home, I ran into his room to
talk to him. In California, he'd looked up some old family friends. He discovered that our parents' stories of how
they fell in love and got married were calculated lies masking an ugly truth. When they met, Dad was already
married. And even after Chris was born, Dad had had another son with his first wife, Marcia, to whom he was
still legally married. This fact suddenly redefined Chris and me as bastard children. Dad's arrogance made him
conveniently oblivious to the pain he caused. And Mom, in the shame and embarassment of a young mistress,
became his accomplice in deceit. The fragility of crystal is not a weakness but a fineness. My parents
understood that a fine crystal glass had to be cared for or it may be shattered. But when it came to my brother,
they did not seem to know or care that their course of secret action brought the kind of devastation that could
cut them. Their fraudulent marriage and our father's denial of his other son was, for Chris, a murder of every
day's truth. He felt his whole life turn, like a river suddenly reversing the direction of its flow, suddenly running
uphill. These revelations struck at the core of Chris' sense of identity. They made his entire childhood seem like
fiction. Chris never told them he knew and made me promise silence, as well.
Quotes
"S.O.S. I need your help. I am injured, near death, and too weak to hike out of here. I am all alone, this is no
joke. In the name of God, please remain to save me. I am out collecting berries and shall return this evening.
Thank you, Chris McCandless. August ?" Chapter 2, pg. 12
"'You could tell right away that Alex was intelligent,' Westerberg reflects, draining his third drink. 'He read a lot.
Used a lot of big words. I think maybe part of what got him into trouble was that he did too much thinking.
Sometimes he tried too hard to make sense of the world, to figure out why people were bad to each other so
often."' Chapter 3, pg. 18
"He buried his Winchester deer-hunting rifle and a few other possessions that he.....
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Into the Wild
Off the road
By Roger Ebert
Sean Penn makes a lyrical movie about one young man’s doomed journey into a perilous Eden.
For those who have read Thoreau's Walden, there comes a time, maybe only lasting a few hours or a day,
when the notion of living alone in a tiny cabin beside a pond and planting some beans seems strangely
seductive. Certain young men, of which I was one, lecture patient girl friends about how such a life of purity and
denial makes perfect sense. Christopher McCandless did not outgrow this phase.
Jon Krakauer's Into the Wild, which I read with a fascinated dread, tells the story of a 20-year-old college
graduate who cashes in his law school fund and, in the words of Mark Twain, lights out for the territory. He
drives west until he can drive no farther, and then north into the Alaskan wilderness. He has a handful of books
about survival and edible wild plants, and his model seems to be Jack London, although he should have
devoted more attention to that author's "To Build a Fire."
Sean Penn's spellbinding film adaptation of this book stays close to the source. We meet Christopher (Emile
Hirsch) as an idealistic dreamer, in reaction against his proud parents (William Hurt and Marcia Gay Harden)
and his bewildered sister (Jena Malone).
He had good grades at Emory; his future in law school was right there in his grasp. Why did he disappear from
their lives, why was his car found abandoned, where was he, and why, why, why?
He keeps journals in which he sees himself in the third person as a heroic loner, renouncing civilization,
returning to the embrace of nature. In centuries past such men might have been saints, retreating to a cave or
hidden hermitage, denying themselves all pleasures except subsistence. He sees himself not as homeless, but
as a man freed from homes.
In the book, Krakauer traces his movements through the memories of people he encounters on his journey. It
was an impressive reporting achievement to track them down, and Penn's film affectionately embodies them in
strong performances. These are people who take in the odd youth, feed him, shelter him, give him clothes,
share their lives, mentor him and worry as he leaves to continue his quest, which seems to them, correctly, as
doomed.
By now McCandless has renamed himself Alexander Supertramp. He is validated by his lifestyle choice. He
meets such people as Rainey and Jan (Brian Dieker and Catherine Keener), leftover hippies still happily
rejecting society, and Wayne (Vince Vaughn), a hard-drinking, friendly farmer. The most touching contact he
makes is with Ron (Hal Holbrook), an older man who sees him clearly and with apprehension, and begins to
think of him as a wayward grandson. Christopher lectures this man, who has seen it all, on what he is missing
and asks him to follow him up a steep hillside to see the next horizon. Ron tries, before he admits he is no
longer in condition.
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And then McCandless disappears from the maps of memory, into unforgiving Alaska. Yes, it looks beautiful. It
is all he dreamed of. He finds an abandoned bus where no bus should be and makes it his home. He tries
hunting, not very successfully. He lives off the land, but the land is a zero-tolerance system. From his journals
and other evidence, Penn reconstructs his final weeks. Emile Hirsch plays him in a hypnotic performance,
turning skeletal, his eyes sinking into his skull while they still burn with zeal. It is great acting, and more than
acting.
This is a reflective, regretful, serious film about a young man swept away by his uncompromising choices. Two
of the more truthful statements in recent culture are that we need a little help from our friends, and that
sometimes we must depend on the kindness of strangers. If you don't know those two things and accept them,
you will end up eventually in a bus of one kind or another. Sean Penn himself fiercely idealistic,
uncompromising, a little less angry now, must have read the book and reflected that there, but for the grace of
God, went he. The movie is so good partly because it means so much, I think, to its writer-director. It is a
testament like the words that Christopher carved into planks in the wilderness.
I grew up in Urbana three houses down from the Sanderson family -- Milton and Virginia and their boys Steve
and Joe. My close friend was Joe. His bedroom was filled with aquariums, terrariums, snakes, hamsters,
spiders, and butterfly and beetle collections. I envied him like crazy. After college he hit the road. He never
made a break from his parents, but they rarely knew where he was. Sometimes he came home and his mother
would have to sew $100 bills into the seams of his blue jeans. He disappeared in Nicaragua. His body was later
identified as a dead Sandinista freedom fighter. From a nice little house surrounded by evergreens at the other
end of Washington Street, he left to look for something he needed to find. I believe in Sean Penn's Christopher
McCandless. I grew up with him.
Into the Wild
A movie review by James Berardinelli
DRAMA/ADVENTURE:
MPAA Classification:
R (Profanity, Nudity, Sexual Situations, Violence)
Screenplay:
Sean Penn, based on the book by Jon Krakauer
There's something seductive about the idea of turning one's back on civilization and all its trappings.
Many of us entertain this thought during a daydream or in those gentle minutes between wakefulness
and sleep, but we don't view it as the act of practical, responsible human being. From time-to-time, we
hear stories about those who make this courageous, irrational leap, although many of those tales have
unhappy endings. Consider Timothy Treadwell, whose video diary of life among the Alaskan grizzlies
was chronicled in Werner Herzog's Grizzly Man. Treadwell died as he lived - with the bears, mauled
and devoured alongside his girlfriend. Then there's Chris McCandless, a disillusioned young man who
discarded his entire existence so he could make his way to Alaska and survive in a society of untamed
solitude for a season. McCandless' story was told through first-hand written fragments and secondhand accounts in Jon Krakauer's book, and this is the material filmmaker Sean Penn has used as the
skeleton of his latest movie, Into the Wild.
Into the Wild combines two popular genres: the road trip and the struggle of man versus nature. Both
are handled well by Penn and their interweaving is effective. As the movie begins, Chris (Emile
Hirsch) has already reached his goal: the unspoiled Alaskan wilderness. He finds an abandoned, nonfunctional bus in the middle of nowhere that provides shelter. Flashbacks are employed to show how
he got there. Meanwhile, interspersed with these lengthy glimpses of the past, the narrative in the
present moves forward, gradually straying into darker territory. Chris' story is both heroic and
cautionary; brave and foolish. Penn gets this. He does not lionize the character or his actions. He
shows admiration for a man who would go to these lengths in pursuit of a dream and a cause. In the
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end, however, there is a simple lesson to be learned: happiness is meaningless unless you have
someone to share it with. The movie ends on a poignant note.
Into the Wild is narrated by Chris' sister, Carine (Jena Malone); Chris' perspective is too narrow to
allow him to present the "bigger picture" that Carine sees. We meet him as a child, trapped between
his warring parents (William Hurt and Marcia Gay Harden), then as a newly minted graduate of
Emory University. Even as he earns his degree, he is turning his back on the materialistic life his
parents have mapped out for him. He donates all his money to OXFAM, torches his ID, then goes
walkabout. Now known by the moniker of "Alexander Supertramp," he heads west. The year is 1990
and the era of the hippie is long past, but that doesn't stop him from encountering a couple of them
(Catherine Keener, Brian Dierker). He stays with them for a time, learning from them and sharing
with them before moving on. His next stop has him working for a grain harvester (Vince Vaughn)
whose "extracurricular" activities get him in trouble with the law. Then, by rail and river, Chris heads
west, his sights now firmly set on Alaska as his eventual destination. He re-encounters the hippies and
has a brief romance with a teenage singer (Kristen Stewart) in a gypsy camp. At his last stop, he is
"adopted" by a lonely, aging man (Hal Holbrook).
It is said that in road movies, the journey is what matters, not the destination, and that's the case in
Into the Wild. For Chris, the trip to Alaska is what gives him joy. The people he meets along the way whether the nomadic hippies, the underage singer whose sexual overtures he spurns (making us
wonder about his sexuality), or the grandfather-figure - enrich his existence. When he reaches the
North and goes into the wilderness by himself, he ultimately finds the experience to be hollow. It
takes him a while to recognize that his spiritual journey reaches its conclusion long before the physical
one does.
Into the Wild is a beautifully made motion picture and some of the segments (especially those with
Hal Holbrook and those that transpire around "the magic bus" in Alaska) are powerful. Chris initially
comes across as an idealistic jerk - the kind of guy who will thoughtlessly hurt others if they stand in
the way of his achieving a goal. Gradually, he is revealed as being more complex. By the end of the
movie, I don't know that I liked Chris, but I understood him and sympathized with him, and
sometimes that's more important.
Emile Hirsch has a difficult job - that of taking a character whose base motivations are selfish and
transforming him into someone in whose presence we can endure two and one-half hours. To do this,
Hirsch represents Chris not as an anti-hero but as someone who has been betrayed and wounded by
his parents and society at every corner. The eclectic supporting cast provides Hirsch with effective
backing. Catherine Keener is as delightful as ever, Vince Vaughn plays it straight without a hint of
goofiness, and Hal Holbrook may be better here than at any time in his long career. (If there's an
acting nomination to be found in this movie, it's Holbrook.)
During the course of Into the Wild, Penn dances with pretentiousness and self-importance. He never
slips over the brink but lines like "material things cut [Chris] off from the truth of [his] existence"
make this kid's odyssey sound more important than it is. There are moments like this in Into the Wild
but they are thankfully isolated. Eddie Vedder's songs also smack of being too preachy, but they are as
easily forgotten as they are forgettable.
Into the Wild is a long motion picture, clocking in at nearly 150 minutes. But the strength and breadth
of its material earns it the extended running time. It's about many things, and makes pointed
comments about the ridiculousness of a society where bureaucracy and the rat race have become so
cumbersome that they crush the pleasure out of living. The final truth it distills reveals something
crucial about what it means to be human - something that Chris doesn't realize until it's too late.
14
Into the Wild
A Paramount Vantage release, presented with River Road Entertainment, of a Square One CIH,
Linson Film production. Produced by Sean Penn, Art Linson, William Pohlad. Executive producers,
David Blocker, John J. Kelly, Frank Hildebrand. Directed, written by Sean Penn, based on the
nonfiction book by Jon Krakauer.
By DENNIS HARVEY
Jon Krakauer's bestseller "Into the Wild" chronicled the real-life, way-off-grid adventures of
Christopher McCandless, a middle-class college grad whose quest for "ultimate freedom" ended
in 1992 with starvation in the Alaskan wilderness. It seemed natural, if challenging, screen
material -- and in his fourth and by far best feature turn behind the camera, Sean Penn delivers
a compelling, ambitious work that will satisfy most admirers of the book. Early-fall prestige
entry's wider prospects will depend on careful momentum building from reviews and word of
mouth, with repeat young-adult biz likely if it doesn't get pushed off screens too soon.
In some ways, adapter-director Penn has made a lyrical youth-rebellion flick in the classic late
'60s/early '70s mode, or at least something that will be interpreted as such by viewers who'll buy the
ecstatic aspects of McCandless' odyssey. Others may find the character, portrayed by Emile Hirsch,
annoyingly over-endowed with undergraduate self-righteousness, borrowed ideals and resentment
toward (who else but) mom and dad.
Penn's precise view of him is ambiguous. With its slow-mo scenic rhapsodies, the film does seem a bit
less questioning of its protag's motives and wisdom than Krakauer's book. But both tome and pic tell a
fascinating tale, with room for myriad personal interpretations.
After graduating from Emory U. in 1990, 22-year-old Virginian McCandless felt he'd completed his
duty to the parents (Marcia Gay Harden and William Hurt) whose expectations he'd often chafed
against, and left Atlanta without telling them or even sibling Carine (Jena Malone). They soon
discovered he'd given away his entire remaining educational fund of $24,000 (slated for law school) to
charity; his car was later found abandoned in the Arizona desert. The McCandlesses notified law
enforcement around the country and hired a private detective.
But Christopher, now calling himself "Alexander Supertramp," didn't want to be found. He stayed on
the move,living off the land and pickup jobs, pursuing a romantic freedom fueled by the writings of
Tolstoy, Thoreau and Jack London. His goal was to live in complete isolation in the Yukon -- a "great
Alaskan adventure" that proved thrilling but ultimately tragic.
Penn cuts throughout among the protag's solo Alaskan months, brief glimpses of his formative years
and vignettes from the time spent tramping in between. These vignettes emphasize significant if
passing friendships made on the road: a middle-aged hippie couple (Catherine Keener and Brian
Dierker) who take a parental interest; a genial, hard-drinking South Dakota farmer (Vince Vaughn); a
flirtatious girl (Kristen Stewart) living in a SoCal countercultural community; and finally, a retired
Army man and widower (Hal Holbrook) who comes to think of this tumbleweed as the grandson he
never had.
There are also less pleasant interludes, from a few bleak hours being down and out in L.A. to a violent
removal from a freight train. But greater perils await in Alaska, where all his survival skills are put to
the test -- and, finally, can't win over merciless Mother Nature.
15
The book drew on many voices to piece together the story. At first, Penn deploys too many tactics in
an attempt at a similar effect: There's Carine's voiceover narration, spoken excerpts from the subject's
often pretentiously self-aggrandizing journals, onscreen text and section titles ("Chapter 3:
Manhood"). But eventually, they all work together well enough.
Likewise, the lengthy pic never feels overlong despite repetitious moments here and there (a few too
many lyrical montages, occasionally over-indulged actor riffing). But the excessively mannered
touches that flawed Penn's prior, features ("The Indian Runner," "The Crossing Guard," "The Pledge")
are mostly MIA. "Wild's" style and substance feel more organically linked; pic also has more room for
humor and warmth.
"Into the Wild" feels heavily influenced by Terrence Malick, for whom Penn acted in "The Thin Red
Line." While this pic's poetic flights may not be up to that film's masterful level, it is certainly more
satisfying than "The New World."
Hirsch, who's shown impressive range in various TV and lesser-seen film projects ("The Mudge Boy,"
"Lords of Dogtown"), easily holds the screen in this demanding role. If his McCandless comes off as a
bit blank-slate, that's appropriate for a man-boy whose unshakable convictions are mostly of the kind
that grow more malleable with age and experience.
Keener, Dierker, Vaughn and Holbrook etch memorable characters. Harden and Hurt aren't given
enough screen time (or much dialogue) to clarify whether their son judged them rashly or justly as
hypocrites. It's unclear whether Stewart means to be playing hippie-chick Tracy as vapid, or whether it
just comes off that way.
Shot in a great many U.S. locations tracing the subject's actual travels,
the physically impressive production is highlighted by Eric Gautier's
widescreen lensing and an original score of acoustic alt-rock
Americana, with new songs by Eddie Vedder generally fitting in well.
Into the Wild, by Jason Solomons
The Observer, Sunday 11 November 2007
Sean Penn is a younger, cooler version of Robert Redford. Penn's a more passionate performer and
less concerned with his own handsomeness, but their films as directors share a similar liberal politics
16
and love of the American landscape. Into The Wild is Penn's fourth feature as director and his most
lyrical work, telling the true story of Chris McCandless, a 22-year-old college graduate who, rather
than return to his conservative parents' (William Hurt and Marcia Gay Harden) for the holidays and
qualify for Harvard Law School, sent his savings to Oxfam and took the roads less travelled to live in
the Alaskan wilderness.
Based on an American bestseller by Jon Krakauer, the film opens with a quote from Byron and
invokes Thoreau, Tolstoy and Jack London. Penn seems intent on showing literary pedigree here and,
as ever, risks accusations of pretension. While Penn's admiration for the story is never less than
heartfelt, it's hard not to make judgments about McCandless, played with the lustrous hair and smug
grin of the free-loading traveller by actor Emile Hirsch. If you saw him coming towards you on a Thai
beach, you'd bury your head in the Lonely Planet and avoid eye contact.
Many characters he meets do actually take to him - Vince Vaughn's wheat farmer, a couple of Danish
hikers, Catherine Keener's traveller and, significantly in this Huckleberryish picaresque, an ex-soldier
played by veteran actor Hal Holbrook who, for most Americans, is the living embodiment of Mark
Twain through his famous one-man shows.
There are soaring moments in Into The Wild, conjured up by the excellent French cameraman Eric
Gautier, who performed similar duties on The Motorcycle Diaries and who here captures the
American outdoors, allying the images to the film's bluesy soundtrack, by Pearl Jam singer Eddie
Vedder. While the viewer may sympathise with McCandless's saintly rejection of materialism and his
pursuit of eternal truths in a mapped-out world, there's little irony in the film, and the deluded Chris
never actually helps anyone else, preferring to dispense received wisdom, not actual kindness.
By Peter Bradshaw, The Guardian
Critical smash ... Emile Hirsch in Sean
Penn's Into the Wild
Sean Penn has achieved a new maturity and depth as a director with this movie - though I detected
some fractionally misjudged touches of machismo. Into the Wild is the affecting true story of
Christopher McCandless, a bright young American college graduate who horrified his parents by
sending his $24,000 law school fund to Oxfam, abandoning all his possessions and hiking off into the
wilderness in search of a radical re-engagement with nature, unsullied by money or the career rat-race
- all in the style of his heroes, Henry David Thoreau, Leo Tolstoy and Jack London.
In 1992, at the age of 24, McCandless was found dead in the Alaskan backwoods in an abandoned bus
he was using as a rough-and-ready bivouac, like a 20th-century anchorite. His life story and ecstatic
passion for the natural world of North America was reconstructed from his journals, converted into a
bestselling book by Jon Krakauer, and now adapted for the screen by Penn himself.
17
The resulting film is a richly, spaciously rendered account of landscape and moodscape: long,
wordless scenes flow into each other, as McCandless heads off in search of American freedom, hitchhiking or riding the boxcars, taking transient jobs. The colours are the rich browns, ochres and sunset
yellows I associate with the indie cinema of the 1970s.
Emile Hirsch gives a very good performance as the intelligent and candid young McCandless, whose
anger at the world has been allowed to uncoil now that he has finally left home and hit the road;
William Hurt and Marcia Gay Harden are the bewildered, grieving parents with whom McCandless
stayed out of contact until the very end. There are nice cameos from Catherine Keener and Brian
Dierker as the hippies who almost understand him, but not quite. And veteran character actor Hal
Holbrook gives a deeply moving performance as Ron Franz, the elderly man who gives him a lift, a
meal and the offer of grandfatherly love and friendship just before McCandless fatefully disappears
upcountry.
McCandless is an idealist and a romantic, but he is also stubborn, driven and selfish. His need to
immerse himself in nature, to throw material possessions overboard, stems at least partly from a need
to punish his parents for the lies and cruelties he remembers being inflicted on him and his sister as a
child. There is something regressive and dysfunctional in McCandless, a fear of human interaction. It
is his unhappy fate not merely to entrance the people he meets on the highway with his unaffected
charm, but to break their hearts too, by insisting on an enigmatic leave-taking. "You're wrong if you
think the joy of life comes from human relationships," is one of the last things McCandless says to
Franz.
Is he right? Just as some people get into extreme sports and extreme danger, McCandless embraced
extreme nature, even scorning conventional hiking equipment and training, as just more trappings
from the straight world of materialism. He was going to be truly hardcore, heading out into the wild
with almost literally nothing on his back. It is almost shocking when he is shown making a bonfire of
his few remaining 10-dollar bills before abandoning his car on the edge of the desert.
Nature in the raw is rarely shown in the movies to exist on its own account without an overt dramatic
function. It exists in horror films and thrillers as the amoral or deceptively sweet-looking habitat of
supernatural beasts or malevolent hillbillies. Solitude, likewise, is loaded with assumptions: the
solitary character is a loser, a loner, a creep or a serial killer. But this picture lets nature simply be; it
lets nothing happen, and does not insist on a dramatic storyline of depression or anger leading to
McCandless's death. This is an event that just happens, and is desperately sad, but does not have a
narrative inevitability that you might expect in another sort of movie. And McCandless is certainly not
represented as suicidal in any way.
The last weeks of his life appear to have been spent reading Tolstoy, and it is an incidental point of
interest in Penn's film that reading is important: the solitary act of just sitting there with a book, for
hour after hour. How is the act of reading changed by being absolutely cut off from all human society?
After a month, a year, a decade on your own in nature, would the words simply look like meaningless
horizontal squiggles, as blank as the ridges in tree-bark?
Very occasionally, I felt restive with In the Wild: there are moments when it is a little self-admiring,
particularly when McCandless is taking an al fresco shower, shaking droplets of water from his hair in
slo-mo. At these and other moments, it looked uncomfortably like a cigarette-free Marlboro ad. But
this is a serious, personal movie about what it is to be human, and what happens when we admire
nature more than humanity: does it make us less than human, or do we fulfil and even transcend our
humanity? There is food for thought and food for every kind of feeling in Sean Penn's outstanding
film.
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Plot keywords
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Emory
University
Wilderness
Alaska
Charity
Barbecue
Brother Sister
Relationship
Deer
Train
Drunkenness
Hunting
Disappearance
Drifter
Forgiveness
Writing In
Sand
Journey
Farmer
Policeman
Rain
Restaurant
Husband Wife
Relationship
Hoover Dam
True Life
Adventure
Bee
Abandoned Bus
Tent
Machete
Fast Food
Pay Phone
Camper
Male Nudity
Grandfather
Grandson
Relationship
Sit Ups
Bare Chested
Male
Icicle
Death Of
Protagonist
Female Nudity
Fairbanks
Alaska
New Year's
Resolution
Poem
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Search For
Truth
Widower
Pull Ups
Flower
Subtitled Scene
Infidelity
Surrogate
Grandfather
Piano
Northern
California
Underwear
Danish
Split Screen
Beating
Freeze Frame
Canyon
Piano Player
Grizzly Bear
Dancer
River Crossing
Nightmare
Reference To
Thoreau
Anti
Conformity
Shopping Cart
Female Frontal
Nudity
South Dakota
Materialism
Apple
Salton Sea
Reading
1990s
Chapterwise
Storytelling
Lake
Domestic
Violence
Illness
Lightning
License Plate
Losing Weight
Affair
Guard Dog
NASA
Self Discovery
FBI
Money
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Book
Crying
Sky Ride
Poetry
Slow Motion
Divorcee
Border
Crossing
Horse
Bear
College
Graduation
Listening To
Music
Hippie
Flashback
Within
Flashback
Male Female
Relationship
Leather
Working
Flash Flood
Farming
Sitting In
Middle Of
Street
Lake Mead
Arizona
Mistress
Wheat Harvest
Road Trip
River Rapids
Breaking The
Fourth Wall
Running
Fireworks
Hitchhiker
Moose
Belt
Reference To
George W.
Bush
Teasing
Cigarette
Smoking
Guitar
Bus
Laundromat
Unfaithfulness
Christmas Tree
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Prayer
Undressing
Spider
Fishing Pole
Beach
Storm
Surrogate
Grandson
Grand Canyon
Chase
Arrest
Hobo
Chapters
Sea Of Cortez
Mother Son
Relationship
Owl
Starvation
Family
Relationships
South Africa
Shaving
Youth
Washing Car
Boat
Wolf
Thrashing
Machine
Cooking
Teenage Boy
Water Skiing
Beard
Chest Hair
Life Savings
Map
Washed Down
River
Van
Cattle
Grain
Multiple
Narrators
Bar
Road Movie
Irrigation
Rocket
Swimming
Colorado River
Violence
Eagle
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River Patrol
Harvest
Nature
Canoe
Underwater
Fight
Salton City
California
Canal
Three Word
Title
Border
Checkpoint
River
Coming Of Age
Freedom
Los Angeles
California
Mountain
Male Frontal
Nudity
Backpacking
Kayaking
California
Campfire
Rifle
Root
Isolation
Prologue
Hitchhiking
Drinking
Hot Spring
Cafe
Shower
Credit Card
Windmill
On The Road
Father Son
Relationship
Search
Flashlight
Police
Diary
Snow
Graduation
Truck
Jumping A
Train
Dying
Nudist
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Private
Investigator
Flashback
Dog
Nudity
Love
Home Movie
Death
Adolescence
Illegitimate Son
Twenty
Something
Car Chase
Sex
Sleeping Bag
Death Of Wife
Guitar Player
Wisdom
Exercise
Stocking Cap
Reference To
Lord Byron
Riding The
Rails
Nudism
Time Clock
Burning Money
Plant
Illegitimate
Daughter
Chapter
Headings
Telephone Call
Adultery
Crystal
Virginia USA
Backpack
Dancing
Jet Stream
Hypocrite
Man Against
Nature
Drink
Georgia USA
Social Security
Card
Waterfall
Bare Breasts
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
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Adoption
Dam
Urination
Blood
Border Patrol
Railroad
Guard
Drug Use
Apartheid
Rock Climbing
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
Mexican
Food Poisoning
Brushing Teeth
Atlanta
Georgia
Boyfriend
Girlfriend
Relationship
Tears
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Knife
Church
Death Of Son
Based On True
Story
Based On Book
21