An Introduction to Film

goal remains out of reach. This rising action, and

the tension it provokes, enhances our engagement

with the ongoing narrative. As the stakes and

action rise in 127 Hours, Aron undergoes character

development. He reevaluates his selfish and soli-

tary lifestyle, appreciates his family, and mourns a

squandered relationship. In fact, Aron’s encounters

with memory provide some of the movie’s most

meaningful moments.

Eventually, our protagonist must face a seem-

ingly insurmountable obstacle, and our story must

reach a turning point and work its way toward res-

olution and the third and final act. This narrative

peak is called the crisis. The goal is in its greatest

jeopardy, and an affirmative answer to the central

question seems all but impossible. In Aron Ral-

ston’s case, he’s on the verge of death and out of

options—almost.

The climaxcomes when the protagonist faces

this major obstacle. In the process, usually the

protagonist must take a great risk, make a signifi-

cant sacrifice, or overcome a personal flaw. As the

term implies, the climax tends to be the most

impressive event in the movie. Aron breaks the

bone in his trapped arm, and then saws through

what’s left with a very dull blade. At the crisis

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3 4
Narrative obstacles in 127 HoursBefore the Aron
Ralston character can finally achieve his narrative goal, he
must first engage a series of obstacles. He tries (almost)
every possible method of freeing his arm from the stubborn
rock pinning it to a remote canyon wall [1], insulates himself
from freezing temperatures with his otherwise useless
climbing rope [2], and retrieves his dropped multi-tool with
his toes [3]. The crisis comes when Aron must take dramatic
action or die. [4]
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