The Green Mile Review
by Michael Dequina (twotrey AT juno DOT com)December 13th, 1999
(out of ****)
_The_Green_Mile_ (R) *** 1/2
_The_Cider_House_Rules_ (PG-13) ***
Of my six years of attending press screenings, the film that has received by far the largest ovation at the film's end was _The_Shawshank_Redemption_, Frank Darabont's 1994 adaptation of Stephen King's prison-set novella. Exquisitely written, directed, and acted, the film was one of the most soul-stirring and moving motion pictures to emerge from this decade, going on to earn seven Academy Award nominations. While the film ended up not winning a single statue (a heinous snub if there ever were one), the film's esteem has only grown through time, becoming on video the hit the film never was at the box office.
With such a tough act to follow, it perhaps is no surprise that only now has Darabont come out with his next film, which, as it happens, is also an adaptation of a Stephen King prison story. _The_Green_Mile_ shares a number of other qualities with _Shawshank_, but one of them is not its astounding excellence; not many will label the new film as the instant classic its predecessor was. But freed from the inevitable comparison, on its own terms _The_Green_Mile_ is a very poignant and well-told tale, albeit one not without its flaws.
As in _Shawshank_, the film is set in the past (here, 1935) and focuses on an unlikely friendship that develops behind prison walls. However, the relationship here is between one Paul Edgecomb (Tom Hanks), the head guard of a stretch of Death Row called "the green mile"; and John Coffey (Michael Clarke Duncan), a an inmate convicted for the grisly murder of two young girls. Bulky and seven feet tall, Coffey certainly looks like the type who could commit such a despicable crime, but his gentle demeanor is a complete contradiction--as are the miraculous powers he appears to possess.
This element of the fantastic is a fairly outlandish twist for a story set on Death Row, but the turn is completely believable because Darabont takes the time to strongly anchor his characters in reality. However, he takes a bit too much time; while getting to know and spending the time with such colorful folk as Paul's guard cohorts and Coffey's fellow inmates is rewarding, it could have been just as so in less the time.
The same can be said of the entirety of _The_Green_Mile_. Execs at Warner Bros. made a big deal about how they did not feel the need to cut down the film after it received remarkably high marks at its first test screening; even so, some trimming is clearly in order. Granted, the three-hour-plus film, bookended by scenes with an aged Paul (Dabbs Greer) in the present day, consistently holds the interest and has an unquestionably powerful emotional payoff. But none of the film's virtues would have been diminished with some careful pruning of the runtime. In fact, a shorter, less leisurely paced version would just bring its strengths into clearer view.
And what strengths they are, particularly in the acting department. Hanks has become such a reliable dramatic performer over the years that a good performance from him is hardly a surprise; needless to say, there are no shocks here, and his trademark everyman quality makes him an instantly likable and relatable lead. More impressive, however, is the much-buzzed-about work by Duncan, perhaps heretofore best known for his supporting role in _Armageddon_. Not much is learned, if anything at all, about Coffey's past, but that Coffey is made into a believable human being rather than a walking dramatic construct has a lot to do with Duncan's vivid performance. Just as good as the two leads are the supporting players, all of whom shine. Bonnie Hunt acquits herself well in an uncharacteristically serious role as Paul's devoted wife; newcomer Doug Hutchison is chilling as sadistic guard Percy Wetmore, as is Sam Rockwell as psychotic inmate Wild Bill; and Michael Jeter is touching as inmate Del, who takes in a pet mouse. Gary Sinise also has a nice cameo as Coffey's public defender.
With so much talent aboard, from the great cast to the solid storyteller that is Darabont, perhaps expectations were trumped up to an unrealistic level. It goes without saying that _The_Green_Mile_ is no _Shawshank_; after all, what is? To give that easy criticism is to discount what Darabont and his crew have accomplished, which is craft a heartfelt fable that pushes all the right emotional buttons. Long before its release, _The_Green_Mile_ has been touted as the movie to beat at the Oscars, and while I cannot honestly say that it's the best film I've seen this year, it would certainly be a worthy winner.
The studio that is usually the one to beat during awards season is the scrappy Disney subsidiary Miramax, and a lot of their awards hopes are pinned on _The_Cider_House_Rules_. An adaptation of John Irving's highly-regarded novel (Irving also wrote the screenplay), _Cider_ is the story of Homer Wells (Tobey Maguire), an orphan who is raised as protege to one Dr. Wilbur Larch (Michael Caine) at St. Cloud's orphanage. Dr. Larch hopes Homer will follow his path one day and assume his position at St. Cloud's, but after the young couple of Cathy Kendall (Charlize Theron) and Wally Worthington (Paul Rudd) stop by to take care of a private matter, Homer decides to leave with them and experience the world. That he does, landing a job on Wally's mother's orchard while Dr. Larch tries to cope with life without his surrogate son.
_Cider_ tackles a number of issues--abortion being the foremost--and does so in an efficient manner, never detracting from the main story of Homer's journey to self-discovery. The film as a whole is an admirable and enjoyable one, highlighted by superb performances, in particular those of Delroy Lindo (as Homer's superior at the orchard) and, in a surprisingly strong debut, R&B chanteuse Erykah Badu (as Lindo's daughter). But while a good film, _Cider_ is far from the great one Miramax and director Lasse Hallström were hoping it would be, marred by an unconvincing romantic subplot between Homer and Candy. The relationship is a keystone in Homer's growth as a person, but Maguire and Theron have so little chemistry that it is never once believable. If _Cider_ is this year's big Oscar gun for Miramax, ā la _Shakespeare_in _Love_ and _The_English_Patient_, then I don't think that the house the Weinsteins built will be adding too many more, if any, gold statuettes to their collection.
Michael Dequina
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