The moving heroism of the Granite Mountain Hotshots
Given the recent events in Northern California, it would somewhat understandable if audiences were to enter into the true-life action/drama Only the Brave with a somber mindset. The film cannot help but come with a cloud of sorrow at first given how much devastation the region has experienced. Eventually however, the sorrow disappears and leads way to feelings of hope, inspiration and deep appreciation for the brave men at the center of the film known as Hotshots. As is the case with most firefighting films, the movie is quick to paint its main characters as heroes. Yet it isn’t any one courageous act, but rather the many smaller ones those men perform every day which makes them heroic, all of which Only the Brave highlights as it plunges straight into their world.
Based on the true story, Only the Brave centers on the Granite Mountain Hotshots; a group of firefighters from Prescott, Arizona whose job it is to protect the town from the constant threat of devastating wildfires. Lead by the strong and determined Eric Marsh (Josh Brolin), the story unfolds through his eyes, as well as those of Brendan McDonough (Miles Teller), a troubled twenty-something who finds his place in society by joining the Hotshots. However, as the team becomes wrapped up in the latest fire season, cracks start to show in both Brendan and Eric’s personal lives, with the latter’s marriage to the supportive Amanda (Jennifer Connelly) under great strain.
In spite of its goal to bring the fearless story of the Granite Mountain Hotshots to life, Only the Brave suffers from an interesting problem. To put it bluntly, this is a film with too much and not enough. With so many guys on board, including Taylor Kitsch and Geoff Stults, the movie isn’t short on colorful characters, yet only a couple of them ever come close to being developed. The same extends to those outside the department, including a barely verbal Andie MacDowell as a city official’s wife. Yet the film also spends a great amount of time in areas that maybe don’t deserve it. How many scenes of Brendan being unable to relate to his infant daughter due to the job-related absences which keep him away does this movie need? It doesn’t take long to realize that Only the Brave is a mini-series trying to pass itself off as a feature film. Had the story been expanded and told through the medium of television, characters would be allowed to flourish and the world of the Hotshots would have been all the more gripping.
Still, props must be given to Only the Brave for going beyond the stereotypes of other firefighting movies in certain respects. The movie makes a concerted effort to focus more on the actual dynamics between characters over shots of characters in death-defying situations (though it doesn’t rob the audience of such moments). This is especially true when it comes to depicting what living that kind of life costs in terms of personal relationships, not to mention an individual’s spirit. The service the Hotshots provide and what it entails is given ample time and is fascinating to learn about, quite honestly. This isn’t an easy profession, but as the film shows, it is one full of its own rewards which for many, justifies the risks. The film’s finale is likewise chock full of pathos and heart-pounding moments, especially as the film refuses to play it safe with regards to who lives and who dies from the movie’s climactic fire.
The performances are standout across the board; at least from those given actual characters to play. Brolin enters into a new phase of his career, mixing strength and soulfulness to great effect. Teller ably steps up to the many facets of his character, carrying us through Brendan’s entire journey so magnetically. Jeff Bridges has a few nice moments as Brolin’s mentor, while Kitsch provides great support as well as some hearty comic relief. Finally, Connelly makes sure Amanda never gets lost as “the wife,” bringing out the character’s frustrations with Eric and their marriage.
Only the Brave thankfully never enters into full Hallmark territory, although it certainly could have, and at times very nearly does. The film does manage to pull in its remaining audience holdouts by its climax even though some will doubtless try and resist sucummbing to the movie’s emotional grasp. That being said, Only the Brave does indulge in some disaster movie tropes, which could’ve been right at home in an Irwin Allen movie. The film is loaded with recognizable faces, some of whom are just clocking in time (Bridges in particular seems to be this film’s Henry Fonda), and there are plenty of shots of the visually stunning blazes and a few frames of people frantically evacuating neighborhoods. However, none of this diminishes the heart of the film’s aim in offering up a tale of a group of real-life heroes who give their lives to fate and chance every day so that so many more don’t have to.
