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Thanks to [livejournal.com profile] ron_drummond, who gave me the DVD for Christmas, I was able to watch Winter's Bone a second time yesterday. Based on a single viewing in the theater, it was one of my three favorite movies of 2010, and it very much held up the second time around.

A couple of years ago it seemed as though there were a bunch of Alice-in-Wonderland-inflected movies about young girls visiting fantasy worlds -- Tideland, Pan's Labyrinth, Coraline, and MirrorMask are what I remember -- and last year it seemed that there was a burst of movies about older girls who have lost their fathers and have to take charge of their lives before it's really their time. Winter's Bone is one, along with The Girl with the Dragon Tattoo and True Grit.

There are aspects of Winter's Bone that remind me of my own father's life, actually. He grew up on a dirt-poor farm in Oregon hill country, and the scene where Ree goes to the cattle auction reminds me of a time my dad took me to one when I was a kid. I've seen those guys sitting in the bleachers in their John Deere caps and flannel shirts and down vests. The view of family in the film seems very familiar too, except that Ree experiences a much more dysfunctional version of extended family loyalty than I ever have. Still, family comes through in the end in the form of her meth-addict uncle, Teardrop, who is a fascinatingly ambivalent character. But the most powerful aspect of the movie is the depiction of strong women, even when they are being strong for the wrong reasons and in the wrong ways. Merab and her sisters, who punish Ree for asking too many questions and then give her the answers she needs to solve her problems, are the most interesting characters -- and the most interesting faces -- in the movie.



The Coen Bros. True Grit has got me reading Charles Portis novels, but I think I need to read some by another Arkansas writer too. Daniel Woodrell wrote the novel that this movie is based on, although I might first try Woe to Live On -- the source of Ang Lee's Ride with the Devil -- which I think I've already mentioned has an oblique connection to True Grit.
randy_byers: (wilmer)
Saw this movie last night at the Guild 45th with birthday boy [livejournal.com profile] holyoutlaw. And what a happy little movie it is! I first heard about it in Lucius Shephard's rave notice on [livejournal.com profile] theinferior4, where he hoped it would bring more attention to Daniel Woodrell, who wrote the source novel. (I promptly discovered that Woodrell also wrote Woe to Live On, which was the source novel for Ang Lee's Civil War movie Ride with the Devil, so while I still haven't read anything by him, at least the name is starting to stick.)

Winter's Bone, directed by Debra Granik, is set in the Missouri Ozarks. It practically compels you to use words like "bleak," "hard-scrabble," and, oh, I don't know, "fucked up". Yet "bleak" really seems too hard a word. It's an effort to naturalistically convey a life of poverty in a rural American setting. It reminded me to some extent of Wendy and Lucy (2008), which was also about a young woman -- a girl still, really -- struggling to survive without many resources to speak of. Yet this movie has more social context for its protagonist, the 17-year-old Ree, and it comes closer to telling a standard genre crime story as well. Ree is supporting her basketcase mother and her younger brother and sister. Her meth-cooking father has disappeared, and if he doesn't show up in court the house that Ree and her family live in will be taken away. Ree begins a search for her father, and through her we explore what amounts to a family gang structure around the production of meth.

For all that it's a crime story that can be justifiably described as Ozark noir, it is as much a character and sociological study as anything else. It's the depiction of both the limited options open to Ree, and of the resources that are available to her -- and they do exist, which is why "bleak" seems like too hard a word for this movie. I don't think it qualifies as poverty porn, but I'll be curious to see how it plays as more people see it. I suppose I should mention that although this is a crime film, there isn't much in the way of violence, although there is one fairly gruesome scene that isn't for the squeamish. But nobody dies! Except for a couple of squirrels.

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