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Cold Mountain 2003 |
Review by Jonathan Cornwell |
Directed by Anthony Minghella
R, 155 min. (violence, sexuality) |
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Starring: Jude Law, Nicole Kidman, Renée Zellweger, Kathy Baker, Aileen Atkins, Natalie Portman, Philip Seymour Hoffman, Giovanni Ribisi, Brendan Gleeson, Charlie Hunnam, Ray Winstone, Donald Sutherland
Producers: Albert Berger, William Horberg, Sydney Pollack, Ron Yerxa
Screenplay: Anthony Mingella
Cinematography: John Seale
Distributor: Miramax Films
Released: 12.25.03 (Wide) |
Rating:
 (out of ) |
Director Anthony Minghella's adaptation of the Charles Frazier novel, Cold Mountain, is admirable because of the
complexity of the story structure demanded for such a translation onto the big screen. A love story set against the dark
days of the Civil War, the film is challenged by the prospect of providing riveting drama for most of its running length without
its two leads together to spark interest. Repressed love is also the theme of Minghella's Oscar-winning The English Patient
and, to a certain extent, The Talented Mr. Ripley (also starring Jude Law). And here, although not quite as successful,
Law and Nicole Kidman do well enough in their own respective storylines to convince the audience that they are worthy of each other's
affections. Cold Mountain is a peculiar film, drawing its power and poignancy through various subplots and supporting
characters that have little to do with the film's overall premise. The backdrop of the horrors of war, both on and off the
battlefield, negate the siphoning effect from a tepid chemistry between Law and Kidman, allowing the film to become an
evolving picture rather than a static, ordinary ode to the power of love.
The film opens in 1864 near the end of the Civil War, and proceeds to revisit pre-war Cold Mountain, a rural town located
in North Carolina, where Ada (Kidman), accompanied by her preacher father (Donald Sutherland), and Inman (Law) fall
in love quickly but have only time for one flash of passion before Inman finds himself going off to fight for the South. Despite
being apart for more than three years, somehow one of Ada's many letters finds its way into Inman's hands at a hospital
where he is recovering from a grievous injury during battle. Prodded by Ada's loving words, Inman deserts the army and
begins a long, arduous journey back to Cold Mountain. Meanwhile, Ada's life has been stricken with the death of her father,
leaving her at the mercy of a harsh farm life for which she is ill-equipped to survive. The arrival of the bubbly Ruby (Renée Zellweger),
who is a hardened farmer with attitude, teaches Ada how to empower herself. However, the local enforcer, Teague (Ray Winstone),
driven by his desire for Ada and her land, uses his position to make her life miserable. Despite the recent arrival of Ruby's
reformed father (Brendan Gleeson), there seems to be no way to stop Teague's growing sadistic tendencies.
Inman's journey is highlighted by his encounter with a fallen preacher (Philip Seymour Hoffman), who becomes a companion
along the way, until they meet a treacherous farmer (Giovanni Ribisi), who specializes in luring deserters to his farmstead.
Then later, in the film's most powerful scene, he becomes protector to a widow (Natalie Portman) and her baby as she
is terrorized by Union soldiers in search of food. He also recevies help from an old healer (Eileen Atkins), who sympathizes
with his plight.
Ada's transformation from city woman to survivor comes through not only the help of Ruby, but also from her own steadfast
commitment to the belief that Inman is in fact on his way home (though highly improbable). Ada's frightened spirit, she
is at first terrorized by a rooster, becomes a courageous fighter as Teague closes in with devious plans. Ruby solidifies
Ada's single-minded sense of purpose when she sees Ruby's strained relationship with her father become a healing event
for all their lives. All that's left is resolution with Inman, one way or another.
In step with the film's obscure nature, the supporting performances dominate the picture's framework. Leading the way
is the aforementioned Zellweger, portraying the strength and dominant demeanor of a woman shaped by life's hardships.
Then there's Gleeson's solid work as her estranged father, balancing the undercurrent of desperate regret with his newfound
love of music. Hoffman and Ribisi also shine, as does Portman, who does her best, most moving work in years.
Minghella's work is bolstered by John Seale's endearing cinematography, which easily imparts the open countrysides and
grit of war circa 1864. Especially in a harrowing opening scene as Union soldiers are trapped in a "turkey shoot" for the
Confederates, the film echoes the sentiment of countless other war epics that decry the bloodshed that is overwhelming
in time of war. This is a picture that cries out for Oscar recognition, and it's sure to receive its due attention; however,
this is not Best Picture material.
Although a good film, Cold Mountain suffers through a lackluster first half (with the exception of the opening battle), and
only slowly builds to its apiring level of significance. It's possible that the film might have worked even better as a mini-series
or as a two-part motion picture, especially considering the distinctive storylines that develop in both Ada and Inman's world.
But I was impressed that Minghella was able to fashion a work that, despite its many potential pitfalls, succeeds to impart the
need for purpose and love amidst the chaos that life's circumstances present. It's a worthy endeavor.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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