Some moviegoers may bristle at films boasting that their stories are “based on” or “inspired by” a true story. Although the marketing tactic may be capitalizing on the intrigue that the big-screen tale is based — at least, in part — on actual people and events, this approach has become so overused by studios that many biopics wind up as cliché-ridden history lessons that ultimately have little new light to shed on a given topic. In the case of The Walk, director Robert Zemeckis — the man behind such cinematic classics as Back to the Future and Forrest Gump —  cuts through to the heart of the story at hand, delivering a poignant message that deserves to be heard.

Set in the early 1970s, The Walk stars Joseph Gordon-Levitt as eccentric high-wire artist Philippe Petit, who instantly becomes enamored when he hears of the ongoing construction of what will be known as the twin towers of the World Trade Center. His dream: to attach his wire between the two monolithic structures and walk across it, accomplishing the most ambitious act of its kind in history. Aided by a veteran circus performer (Ben Kingsley) and his girlfriend Annie (Charlotte Le Bon), Philippe begins recruiting “accomplices” to help him achieve his goal, despite its highly illegal and dangerous nature.

First of all, those moviegoers who may have been thrown off by Gordon-Levitt’s blue contact lenses and French accent can rest easy. Time and again, the actor has delivered astonishingly immersive performances, and The Walk is no different. From the very first scene in which Philippe begins to tell his story (the film is framed by these on-camera narrations, sold with gusto by Gordon-Levitt), he embodies the character with such verve and physicality that it’s easy to forget the man onscreen is merely a dramatization of the real Petit, whose real-life story was covered in the Oscar-winning 2008 documentary Man on Wire.

Moreover, The Walk smartly keeps its focus on the titular performance atop the World Trade Center. It is incredibly common for biopics (such as the recent Black Mass) to attempt to cram in as much detail about their central characters’ lives into a single film, but Zemeckis — who has actually never directed a straight-up biopic before — trims any scene or moment that doesn’t directly impact either the road to Petit’s World Trade Center walk or the execution of the performance itself. As a result, the film maintains a relentless pace that scarcely falters and keeps the suspense running high throughout. Side note: prepare to sweat during the intense, knuckle-biting climax.

The true miracle with The Walk, however, is that it succeeds in relating a seemingly esoteric subject to a much grander message of hope and the significance of pursuing your dreams, even if they’re as insane and over-the-top as Petit’s (a perspective well-represented in the film itself). Ultimately, the spectacle of The Walk may draw audiences in — and it is pretty spectacular in and of itself — but the bittersweet beauty in what the man himself is trying to achieve is irresistible. Even when viewers are shaking their heads at Petit’s audacity to complete what he calls his “coup”, it’s hard not to admire the passion with which he pursues it, especially given the tragic apathy that has swept the nation since that history-altering event that occurred 14 years ago at the site of Petit’s unforgettable walk.

Rating: 4 out of 5

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