Overall Rating
  Awesome: 18.37%
Worth A Look: 39.29%
Average: 14.29%
Pretty Bad: 14.8%
Total Crap: 13.27%
13 reviews, 118 user ratings
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| Cold Mountain |
by Greg Muskewitz
"A journey well worth the taking."
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The best of the holiday, or moreover, the “Oscar contender” releases, Anthony Minghella directs this Civil War epic of lovers separated.That said, the film isn’t so much concerned by the war itself, though it’s not merely reduced to a backdrop, nor is the focus on the lovers together. At the start of the film, past the breathtaking opening of the North setting up trap beneath the South (the whole scene, as the explosion goes off, and especially the composition as the ground rises, are especially excellent), the storytelling takes a disjointed approach — explaining who the wounded soldier is (Jude Law), the story behind his book and a picture of a Southern Belle (Nicole Kidman). It takes turns retelling their meeting and eventual brief courtship before he’s called off to fight, and where they are now, as time continues to pass since any word has been exchanged. He deserts, and for a long haul, she is alone following the death of her preacher father. Each has a considerable supporting shortlist of characters — people the deserter comes across in his travels, and the townsfolk left at home. A veritable odyssey, apart from the long length of the film (which it never feels long), the storytelling is a challenging method since its success relies on the separation of lovers, and keeping them apart for the majority of the film. It is therefore necessary that their romance be believable, otherwise it would flounder without connection. The technique of flashbacks is very helpful in solidifying what exactly their relationship is, and perhaps with the evidence, making it stronger the longer the two characters remain apart. With the population of non-leads, there’s a gamble of them becoming toss ins, one-dimensional, forgettable, but their development, and their augmentation to the assistance of the story is always beneficial and grounding. Under their skin, they all serve mechanical purposes, but they’re so thought out, so dressed, it always keeps the progression moving forward without the fault of a stall. (It’s so well done, at times you almost want to continue with them.) While I don’t think Kidman gives an award-worthy performance, it’s clear that her investment in the role and the film is much more than in The Human Stain. She’s paired well with Law, neither of who detract or attract more attention than the other. The only scene-stealer is Renée Zellweger in a scenery-chewing role, but she completely commits to the character and receives additional attention for the relief that she brings to the film. Zellweger is almost always a very good actress, and one unafraid to take unflattering roles, though it won’t seem that way when she wins the Oscar for this one. John Seale’s cinematography is some of the best of the year, crisp, clean, vivid, practically allowing the fiery alpenglow to transcend the screen. A journey well worth the taking. With excellent support from Natalie Portman, Donald Sutherland, Brendan Gleeson, Ray Winstone, Philip Seymour Hoffman, Kathy Baker, James Gammon, Eileen Atkins, Jack White, and Ethan Suplee.[Absolutely to be seen.]
link directly to this review at http://www.efilmcritic.com/review.php?movie=8421&reviewer=172
originally posted: 05/14/04 09:49:31
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This film is available for download or online viewing at CinemaNow.com For more in the CinemaNow.com series, click here.
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USA
25-Dec-2003 (R)
DVD: 29-Jun-2004
UK
N/A
Australia
01-Jan-2004
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