The story's allegorical elements are aimed straight at the American psyche – the need for praise, the wide-eyed wonder, the fact that we're stumbling through history doing important things despite ourselves. Forrest impacts such events as Vietnam, Elvis and US presidents from Kennedy to Reagan. But the film avoids the preachy "we know the truth" posturing of Oliver Stone (who's made films about Vietnam, Kennedy and the Doors – instead of Elvis, but give him time). As our hero crashes through history, he doesn't make judgement statements – he simply looks for the best and gets on with it.

It's a remarkable film from that standpoint. Not a realistic portrayal in any way, but rather an utter fantasy, an exploration of ideas and feelings, and a statement that even though it appears that everything happens by accident, there simply must be a higher order in this universe.

Hanks, of course, is superb; there isn't a false note in his performance. Wright gets a meatier role than she's ever had before, and does it justice. She's the story's counterpoint – the character who experiences history. Field is wonderful as Forrest's mother; and Sinise fills the screen with energy and rage in a remarkable performance that's given extra weight by some of the most stunning (because they're invisible) effects you'll ever see.

The film isn't perfect: its events are contrived, and Forrest's life is compressed into a series of Big Events, one after another, with very little real life in between. The story also takes some unnecessary turns and takes too long to come to its conclusions. But Zemeckis' direction is surehanded, his attention to detail impeccable and his nice touches too numerous to mention. Sigh.

themes, language, violence, innuendo

Oct.94

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