I thought the South was supposed to be a warm place full of happy, positive thinkers?
Ada Monroe (Nicole Kidman) and her father (Donald Sutherland) move from their riches, and into a slightly slummy, lower-grade town in North Carolina and fit in very well, especially Ada who has the fortune of being stunningly gorgeous and able to catch the weary-eye of any man. However, one man in particular is the one she only cares about, and his name is Inman (Jude Law). What separates Inman from all the rest of the other slack-jaw, testosterone-fueled scuzzy-buckets around him is that he’s a sweet, soft and gentle man. The two hit it off quite well, but not as much as they would have probably liked to since less than a couple of weeks later, Inman is drafted into the Civil War, however, he doesn’t leave without giving Ada a nice smooch, and letting her know that “he’ll be back for her”. She stays there waiting for him, expecting the war to be over in a couple of weeks, but they eventually turn into years and Ada loses all hope that Inman’s coming back, let alone, alive. But Ida won’t have to fear any longer since Inman escapes the war, and makes his way back to her. Only real problem in his way: Rusty, law-enforcement imprisoning and executing war-refugees.
First of all, I know it’s hard to get past the fact that many, upon many famous non-American actors and actresses are sporting a Southern drawl and all that, but trust me, it’s not all that hard to get by once you just pay attention to the story, the visuals, and pretty much everything else that’s going on around these people when they speak, no matter how fake it may sound. And hell, it isn’t even that bad to be honest, however, there is a price you have to pay when you have Jude Law and Nicole Kidman in the lead roles of a Civil War movie, but the price isn’t that much that late, great director Anthony Minghella obviously couldn’t handle.
Minghella, as most know, had a fine eye for beauty and detail when it came to the way his movies looked, and this movie was no exception to the fact. You can tell that a lot of this was shot on-location, rather than placing a bunch of over-clothed, over-priced sets and actors in some rural town that nobody had ever heard of, and it works well in the movie’s favor, no matter where its story goes. It makes you feel as if you are right there with this story, just as it’s happening, wherever it may wound-up at. More of that could be said Inman’s story, as he’s the only one who really does any “moving around”, whereas Ada just sort of hangs out on her own, at her own ranch no-less; which also creates a bit of problems for the movie, in terms of pacing.
You see, since both stories that we have here are occurring practically simultaneously, it’s hard for us to not get more involved with one story over the other. As interesting as Ada’s story of her coming into her own and being her own gal may have been on-paper, it comes off as rather cliche and sometimes hokey on-screen, only livened up by deadly, violent acts of violence, that we see more than a few times happen in Inman’s story. Not saying that Ada’s story needed more blood, guts, and shootings to keep up the pace with Inman’s, because when it does come, it hits hard, it just feels like we were missing a part of the pie that would have made that story something we were cheerful to see getting more attention. Now, as for Inman’s story, well, that’s where the movie really works its wonders.
It’s obvious that, despite all of his good-intentions, Minghella cares more Inman’s story than he does with Ada’s, which is fine because his story is filled with so much excitement, drama, adventure, and intrigue, that it’s a wonder why Minghella didn’t just make this all about Inman, and only showed Kidman at the end. Probably wouldn’t have worked as well, but maybe some trimming would have? Anyway, what I liked so much about Inman’s story isn’t that he goes around the world, encounters a new person each and every day, changes their lives just as much as they change his, and all of a sudden, he has a prettier outlook on life than he originally had before; nope, it’s actually the opposite. Inman goes into the war as the soft, sensitive-type that feels like he would much rather be sitting underneath a tree, jotting down a few lines of poetry that flash right into his head, rather than being the type of guy to put a bullet between the eyes of a fellow human. He’s just not functioned that way, however, he’s drafted into the war, which means he obviously has to be complete his duty as a common-day citizen, turning him into something of a savage beast that knows his ways of violence and the limitations he has bestowed upon them, and he doesn’t like it a single bit. Because don’t forget: He’s not a killer, he’s a lover, dammit!
And that’s exactly what makes initial escape and adventure so much more sympathetic and worth watching.
In fact, we somewhat applaud him for having the cojones to actually get up and leave the war when he has the right chance to, because he knows that this war is for shit, he’s seen all the ugliness about it, and he wants nothing more than to go back to his squeeze and be back in beautiful play-place he calls “North Carolina”. It’s a long and hard trip that experiences many pitfalls along the way, but he’s able to go through it all, just by the sheer shred of hope in his mind. Because of this, we want him to succeed and we care about every person he meets, regardless of if he changes their outlook on life or not. He’s just a man, going about his way, trying his damn near hardest to get back to his woman in one piece, and hopefully live the rest of his life in eternal happiness and love. Now tell me: What’s not romantic about that?!?!?
“Thank y’er darlin’ fer dis tasty bevereeeerge. Southern enough?”
Well, one thing that isn’t so romantic about their relationship is that the two don’t really feature much of a chemistry together. But I don’t know if that’s a hit against them, as much as it is against Minghella, considering they spend about 15 minutes of screen-time together, and are suddenly separated. Jude Law and Nicole Kidman do great work when it’s their own, respective stories where they just have to tell their story for the way it is, but you can just tell that there isn’t much glue holding them together as a couple that makes it worth fighting and daring to die for. Law gives Inman a quiet, but powerful presence that’s easy to root for, whereas Ada’s more or less going through the conventional, riches-to-rags-to-riches story that we see most movies churn out like butter. That said, both are good, despite not being able to generate any fireworks when it comes to their “love”.
However, the smart decision Minghella made with this movie was not to just have pretty, beautiful, and talented faces in the leads, but to also have them in every other character ever seen in this movie. This is one of the largest ensembles I have ever seen for a movie, but that isn’t used just to distract you from some of the story’s more problematic segues. Everybody’s great with however much screen-time they’re given, no matter how minor or large, but there are a couple of stand-outs that really left an impression on me, long after the movie was over.
Obviously Renée Zellweger was great in this movie (obviously, she won an Oscar) and really gets Ada’s story fun and interesting; Natalie Portman shows up as a widow of a Civil War soldier and shows Inman enough compassion, but also asks that he give her some in return, and then some more; Philip Seymour Hoffman has so much fun as the dirty, raunchy preacher-man that Inman runs into and stays with for most of his trip, and shows you why it’s so great to see this guy anywhere he shows up; and even Ray Winstone is somehow able to get rid of his Cockney accent and give us a nice performance as the sheriff from Inman’s town that is not only a very determined dude when it comes to nabbing these traitors, but doing what he has to do for punishment purposes. He’s a bit of a sick bastard, but Winstone gives him a nice ounce of humanity that makes it easy enough to see the world from his side. But like I said, there’s plenty more famous peeps where that came from, and it’s fun to watch, while also intriguing because everybody’s great.
Consensus: One story may be more interesting than the other in Cold Mountain, but nonetheless, they both come together to make a heart-breaking, upsetting, but also, very compelling tale of what it means to adventure for what you want, by any means possible. Corny? Yes, but it’s handled much better than I may make it sound.
8 / 10 = Matinee!!
Guess Jane eventually got her gun. #FilmReferenceKindofSortof
Photo’s Credit to: Goggle Images