I Am Legend

by Brian Zitzelman

I Am Legend is the latest adaptation of Richard Matheson’s novel, the influential story of the last man on Earth, alone in a world full of vampires. The tale has been in theatres twice before, most famously as The Omega Man with Charlton Heston. Director Francis Lawrence takes the book’s latest directing reins, accompanied by a massive budget and arguably the world’s biggest movie star, or at least its most financially reliable, Will Smith.

Smith is Robert Neville, a scientist and soldier, living in a desolate New York City, loaded with deer running freely, grass taking over concrete and signs advertising musicals that have absolutely no chance of remaining on Broadway in any conceivable future. A cure for cancer goes wrong, becoming an airborne disease that turns people into monsters. Quick, ruthless, with a strong distaste for sunlight, they are vampires in everything but name only. Hiding in a thoroughly locked down apartment at night, Smith’s Neville spends each day hunting for food and other survivors, a search that seems increasingly useless.

Many film fans worried about Smith’s casting, worrying the actor’s charm and cleverness would turn I Am Legend into just another blockbuster, overfilled with quips and over the top action. The truth is quite the opposite. Yes, there is the scene of Smith shirtless working out. Yes, there is the scene of Smith singing. Yet, as Neville, Smith supplements it all with desperation, shame and struggle. Early choices in the film appear to be out of a Bruckheimer picture, with Neville speeding down empty New York streets in a red sports car, listening to Bob Marley and having one of the DVDs of choice for all macho men, Goodfellas. These maneuvers all make sense in hindsight. In fact, each element reveals little truths about the character.

The first hour of the picture is almost entirely Smith. His presence and Lawrence’s impressively confident directing grows on the viewer, inviting the audience into a movie that is far tighter, scarier and more emotional than most chartbuster fair. Silence is held through out, with a slight score entering flashbacks but rarely elsewhere. Instead, Lawrence sets a somber tone, reminiscent of Danny Boyle’s great 28 Days Later but distinctly more character driven. Legend’s plot is minimal; the movie’s impact is not. Minus an early scene with a pack of lions, Lawrence and screenwriters Mark Protosevich and Akiva Goldsman land each note precisely, letting the right amounts of comedy, pop culture, spooks and grief take hold.

A prime example is Neville’s penchant for Bob Marley at all hours of the day. Initially, the choice comes off as simple, practically annoying. Everyone loves Marley and his inclusion seems an easy in to the film. “Three Little Birds” is played as Neville hangs about his apartment, when he drives, seemingly everywhere. The line, “Every little things, is going to be alright,” feels too on the nose. However, with each round of the song, and as Neville’s daily routine is further revealed, the song rings with distraction and hope. Neville needs such bright lyrics and sounds to get by, whether they seem unbelievable or not. Smith plays it all perfectly, a man with festering guilt inside. He knows the good he can do, relentless working on a vaccine for the zombie/vampire like transformation. Nonetheless, one gets the sentiment that Neville feels unworthy of his place as possibly the last man on Earth.

When the second hour unfolds and the tension takes hold, Lawrence and Smith do not falter. In fact, the film’s only true adherence is its atrociously pedestrian CG, which would look weak and dated even at the turn of this decade. To Lawrence’s credit, he keeps the pressure on, even if the movie’s visuals can not equal his vision. For such an expensive and exhaustively advertised film, I Am Legend appears to be one of 2007’s biggest surprises, not to mention the best blockbuster of the year.