When I go to the movies these days and sit through the previews–which start when the feature is supposed to start and run a full fifteen minutes–I despair. Sometimes it is necessary for me to cover my ears to avoid the noise of the car crashes, the gun fire, the exploding bombs, cities, or planets. I think to myself, “Why do the producers make all this crap, and for so much money?” Film is a powerful and potential redemptive medium, and there are a multitude of fine filmmakers working these days. Why do producers, then, give us heroes like the Prince of Persia and Robin Hood?
An antidote to the tripe emanating out of Hollywood these days is the powerful and authentic film “Winter’s Bone.” It is the story of a 17-year-old mountain girl/woman who fights to keep the family home after her father disappears, having put up the home and land as bond for his court appearance. Ree, the 17-year-old heroine, played magnificently by Jennifer Lawrence, is an authentic, real-life heroine, not a hero gussied up with warrior duds and fancy fighting gear. No, all she has is a squirrel rifle, and she uses that to hunt squirrels so her family can eat. Ree is the genuine article: she is courageous, even when her life is endangered; she is tenacious, when most would have given up long ago; she is fiercely loyal to those she loves; she stands in the truth and no other place; and she is steadfast in parenting her younger brother and sister, putting aside her own needs to care for them.
The film is set in the Missouri Ozarks, and the aesthetic chosen by director Debra Granik is a spare as the land itself. There are no wasted words in this film. Much is said by suggestion: by a turn of the lip, by a grunt or a glance. The camera shows the junk cars and discarded sofas as well as the beauty of the land, the peace as well as the poverty. The characters who people this film are authentic mountain people: they have survived this far by clan loyalty and by a physical and emotional toughness that most of us can’t begin to understand. They will look evil in the eye, and they will kill when they have to. You don’t want to cross them. Some of the cast members are local people, but the main characters are actors. John Hawkes is chilling and complex as Teardrop, Ree’s uncle. The mountain wives know the rules of engagement, and are the ultimate peacekeepers of the community. When I left the theater, I felt I knew all of these characters.
Compared to most Hollywood films, “Winter’s Bone” was made for chump change–$2,000,000, and supported by tax incentives from the state of Missouri–and it received the best-picture award at the Sundance Film Festival. It is a redemptive film in the sense that it tells the truth about a people living in extremis, and because the film cuts to the core, and so sharply, we learn more about ourselves–we who have been protected from this depth of knowing by our comparative ease and ignorance. And it is redemptive because it shows us a heroine who never gives up on what is hers to do. She finds the truth, and sure enough, it sets her free.
P.S. A Note to Hollywood Producers: I hate to moralize so blatantly, but if you Hollywood producers had half the integrity of Ree, you would ask yourselves if you really want to keep shoveling this monumentally expensive trash out to the American people and calling it entertainment. (Apologies to the few good films you manage to get out to the public.) Life is so much more than making money. Life is so much more than making money. Lest you miss my sentiment: Life is so much more than making money.


