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вЂNo longer to be poisoned by civilisation he flees, and walks alone upon the land to become lost in the wild.вЂ™ From these remnants Krakauer, and then Penn, created a narrative of a life. вЂAnd now after two rambling years comes the final and greatest adventure,вЂ™ he wrote, about the experience he called his Alaskan Odyssey. As well as keeping a daily log, and taking self-portraits, McCandless annotated his books, and carved a brief, somewhat grandiose, autobiography into the plywood frame of the bus. On the trail, Strayed wrote in a 200-page hardback sketchbook, recording snippets of conversation and other details that later became the basis for her memoir. These were the twilight years of the analogue age, and they both sought to record and report their experiences using the tools of that age вЂ“ 35mm film cameras, letters, postcards, and handwritten notes. McCandless and Strayed were both in their mid-twenties when they went into the wild. вЂI didnвЂ™t embrace my new name because it defined negative aspects of my circumstances or life,вЂ™ she wrote in her 2012 memoir Wild: Lost and Found on the Pacific Crest Trail, вЂbut because even in my darkest days вЂ“ those very days in which I was naming myself вЂ“ I saw the power of the darkness.вЂ™ Like Alexander Supertramp, her wayward-sounding name was chosen to signify a new beginning. In the years prior, she had lost her mother to cancer, then sought solace in casual sex, destroying her marriage in the process. In June 1995, three years after Alexander Supertramp went into the Alaskan wild, Cheryl Strayed, a 26-year-old woman from Minnesota, set out to hike an 1100-mile stretch of the Pacific Crest Trail, from CaliforniaвЂ™s Mojave Desert, to Ashland, Oregon вЂ“ or as much as she could cover in a 100 days.

The self-portrait was found, undeveloped, in his camera. A text overlay reveals that his body was discovered by moose hunters two weeks after his death. McCandless was a real person, and he really died. I hadnвЂ™t just been watching a tragic tale. This image jolted me out of the half-dream state that had settled over me during the film.

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Over the Alaskan scenes, relayed mostly in montage, Eddie VedderвЂ™s baritone swoops and soars, steeped in manly longing, yet triumphant and free вЂ“ even, and especially, at the end.ДЄs Vedder croons his bittersweet lament, a final pull-back shot takes us from the bus, and McCandlessвЂ™s recently deceased body, to an aerial view of the landscape, before settling on a final frame: a still image of McCandless вЂ“ the real McCandless вЂ“ sitting outside the bus. On the road, Emile Hirsch as Alexander Supertramp is sage-like: an outlier and a Samaritan who helps and inspires the people he meets, then moves on, like the German shepherd in the 1970s childrenвЂ™s show, The Littlest Hobo. The narrative switches back and forth between McCandlessвЂ™s two years on the road, and his final months in Alaska. I hadnвЂ™t yet read the book, so I experienced the film on its own terms. I first saw Sean PennвЂ™s 2007 film Into the Wild, an adaptation of Jon KrakauerвЂ™s bestselling book about McCandlessвЂ™s journey, a few years ago. A daily log, kept in the blank pages at the back of a guide to edible plants, revealed he had survived in the wilderness for 112 days. His parents did not hear of him again, until he turned up dead, apparently from starvation, in an abandoned bus in the Alaskan wilderness in September of 1992. Over the next few months he abandoned his car in a riverbed, gave what was left of his college trust fund to Oxfam, destroyed his identification, and adopted a new name, Alexander Supertramp. вЂI think IвЂ™m going to disappear for a while,вЂ™ he said. In May 1990, after graduating from Emory University, 22-year-old Chris McCandless told his parents he was taking a road trip.

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