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I am sure that there will be wags who glibly compare Cast Away with the similar Gilligan’s Island and Breadwinner, but, in tone, approach and common achievement, it is an atypical Robinson Crusoe tale that bears a strong resemblance to one of director Robert Zemeckis’s earlier efforts, Contact. No, Cast Away isn’t about space or messages from another planet, but, in essence, it is linked. Both films ask the same crucial existential question that Shakespeare pondered for years: Taking everything into account, what does existence mean for humans? How do we cope with the loss, hopelessness and isolation, and still find the courage to face the next day? The love and the dream of a dead father that Jodie Foster portrayed sustained Contact. For Tom Hanks’ Chuck Noland in Cast Away, it is a promise shown by his smile that is equally lacking in his wife to be.

The last time Zemeckis and Hanks got together, a legend was born – with the idiot savant Forrest Gump. A brilliantly conceived trip in the second half of the 20th century, Forrest Gump was part folksy feel-good drama, as part of a well-concealed satire. The 1994 blockbuster offers much more than his opponents, and even some of his supporters, acknowledge. Those expecting Zemeckis and Hanks for reconsideration of the same territory in Cast Away will be surprised – apart from the film’s Oscar potential, there is little interaction. Cast Away will not be the crowd pleaser that Forrest Gump was, but it is a better, more rewarding experience. And, just when you think that it’s over, its main character defies expectations and metamorphoses into something different and more convincing.

The year is 1995. Chuck Noland is a demanding Federal Express employee who run zips from one country to another for troubleshooting problems and streamlining operations. His mantra is to do everything necessary to get his package to its destination on time. In his younger days, he was known for stealing a bicycle from a child after his delivery truck broke down. Fresh from a visit to Russia, Chuck is enjoying Christmas dinner with his girlfriend, Kelly (Helen Hunt), and his family, when the call comes in: he needs to be in Malaysia. After some time, he’s in the air, flying through stormy skies over the South Pacific. Suddenly the plane is off course, and yet another explosion happens, and Chuck finds himself submerged in the womb of the crashed plane. The inflatable life raft makes it to the surface, and it floats to a deserted tropical island, where he learns that survival without the attributes of civilization is much more complicated than it’s made out to be in books, on television and in movies. There may not be any people on the island, but something is making noise in the jungle at night. And what about food and drinking water? Without adequate tools, simple tasks such as opening a coconut or fire became herculean effort.

Cast Away is divided into three distinct steps: installation, the main story, and afterwards. Despite the fact that at the heart of the film is a 75-minute experience of Chuck being marooned, it is in the third act, which does not offer simple solutions for complex situations, that the film raises to the level of inciting new adventures of a fully satisfying drama. The film Red Planet could have been, if it had the courage to challenge the audience, rather than saddle them with a worn-out, regurgitated plot.

The crash, which occurred during the first half, happens differently from almost any air disaster I have ever seen in motion pictures. Zemeckis employs digital effects, but does not show disaster (he uses them in the beginning and then to create a perfect storm in style waves). We see the events from inside the plane, against the backdrop of wind and darkness, and this entails a truly eerie and disturbing situation. Later, when Chuck is in the water, a sense of danger is palpable – especially during one unforgettable moment when the plane in rotation of a screw bears down on his little life raft.

The scenes on the island before the phenomenon of his gaining survival intelligence (unlike similar events chronicled in the lame Six Days, Seven Nights, which used similar circumstances) are fascinating. We follow Chuck’s step-by-step way of survival, where even the smallest things, such as drinking coconut milk or using a MacGyver-like ingenuity in the development of a tool, is a significant achievement. Zemeckis’ approach to this part of the movie is flawless. He never sentimentalizes Chuck – no “Back to Memphis” scenes, which would violate the mood, and there was no random music. For more than an hour, the only sounds heard are the island’s natural noises (and a bit of dialogue, as Chuck starts talking to a volleyball, which becomes his lone “companion”). Moreover, the script does not enter into any isolated areas – shallow, melodramatic situations or artificial conflicts. In fact, those expecting the usual adventure film may be disappointed. Cast Away is always interesting, but not necessarily in a traditional manner.

By the time the 30-minute epilogue comes, we are already deeply committed to Chuck and his conquest of nature – a fact that makes it difficult to cope with the final dilemma. Once again, Zemeckis and screenwriter William Broyles Jr. avoided melodramatic and manipulative clichés, which could reduce Cast Away, to a lesser film. They remain true to the characters and situations to the end, which is a literal and figurative crossroads. There is a kind of catharsis, but it will not be final, and to the satisfaction of all viewers.

For his level of work, it will not be surprising if Hanks earns another Oscar nomination. The film’s success rests with him because he is on screen more than half of the time. It is one thing for an actor to win, playing against another; a different matter for him to excel when no one else is around, and virtually no dialogue to speak. In addition, the physical changes that Hanks had to take part in – he was forced to lose weight and get in shape quickly (so much so that the “weight loss coach” is credited at the end) – are incredible. The actor is ready to go through the rigors and that Hanks survived the transformation certainly deserves special notice, especially when he turns in a top-notch performance.

The only other significant player is Helen Hunt, who has become common in motion pictures, including the television series Mad About You. This is her fourth film in four months (the other three: Dr. T and the Women, Pay It Forward, and What Women Want). This time, she’s more of a supporting player, but, despite limited screen time, the movie manages to develop Kelley in the flesh and blood of a woman who is crucial to the film’s emotional foundation. Hunt’s performance, of all her recent departures, is easily her strongest work.

For as long as he works in Hollywood, Robert Zemeckis will be linked to Forrest Gump. In spite of how good that movie was, it was not his best work. In many ways, Cast Away has stronger and more compelling features. For the year, which has not been known for strong theater, Cast Away will rise to the top of the heap. It has all the characteristics of a great picture: well-developed characters, solid drama, adventure, and an unconventional and intelligent script. At almost two and a half hours, it is the perfect length – not too long and not too short. Whether or not Cast Away earns any Oscar nominations, it is among my picks as one of the best films of the year.