By Ross von MetzkeTempo Editor
When a movie preaches at the audience to get its point across,regardless of your emotional connection to the subject at hand, theinitiated response is typically one of annoyance.
After all, films are about raw emotion; they’re about elicitingresponse, and a genuine response at that. Spoonfeeding ideas into anunsuspecting spectator’s mind is not the best way to win theirsupport.
On the other hand, when a film makes no attempt other than tellingthe truth to evoke feeling toward the subject at hand and stillmanages to make its point clear beyond a shadow of a doubt, theproject can be considered a smash success.
Suchis the case with “The Green Mile.”
Adapted from the Stephen King serialized novel (one of his foraysinto serious story-telling rather than his standard horror-suspense),”The Green Mile” tells the story of a Southern prison block duringthe Great Depression through relationships and connections madebetween Death Row head guard Paul Edgecomb (Tom Hanks) and hisfamily, co-workers, friends and prisoners. A stirring tale that tugsat the heartstrings as much as it does the intellect, “The GreenMile” is one of those big-budget studio pictures one prays isn’tglossed over when they hear it’s being filmed, then breathes a sighof relief when the finished product is unveiled, integrity intact.
Director and screenwriter Frank Darabont makes no pleas towardimplying the death penalty as a barbaric ritual humans inflict onanother to emote strength. That point is made crystal clear by thegasps of terror that fill the movie theater when audience memberswitness the true and atrocious crime this country has allowed toco-exist with democracy and freedom.
“The Green Mile” doesn’t even insinuate this “worldly past time”has perhaps worn out its welcome. Stands on the death penalty are sostrong across the board — to try and change people’s opinions in athree-hour movie would be ludicrous.
What “The Green Mile” does, however, is paint an honest picture oflife, complete with its uncertainties and contradictions. It portraysa world in which one can wholly support a vision or view, yet allowdisclosed thoughts to waft through their mentality.
The magic that surrounds Edgecomb’s cellblock aides Darabont inhis endeavors to spin a truly whimsical, yet intense tale. In properdefinition, Edgecomb’s latest prisoner, convicted murderer JohnCoffey (Michael Clarke Duncan), is the magic of the tale. His abilityto heal God’s creatures (through some twist of the supernatural, heis able to take away human pain) and anticipate the world’s actionsmakes for the prison drama’s backdrop, and intrigues and mystifiesEdgecomb into a curious relationship with the prisoner.
But each of the characters King, and in bringing them to lifeDarabont, has created here carries with them a certain sense ofmagic. Be it the whimsical way that prisoner Eduard “Del” Delacroix(the absolutely superb Michael Jeter) looks to life with suchpassionate aloofness or the progressively enlightened middle-menHanks and crew portray, the masterminds behind “The Green Mile” aregenerous in giving audiences a multitude of personal connections tolatch onto.
Hanks, as always, proves his weight in Oscar gold. He does nothingprofound here; nothing we haven’t seen before in his wide repertoire,but an actor can’t be expected to pull a punch out of the bag everytime. And sometimes, it takes a true talent to step back and allowhis co-stars to take the limelight.
In the case of “The Green Mile,” Hanks relinquishes scene stealingduties to two fine Hollywood up-and-comers. As evil cell block guardPercy Wetmore, relative newcomer Doug Hutchinson is probably the mostlikely Oscar contender out of this fleet. And rightfully so. He hasthe flashy role of a slightly crazed and neurotic man you hate, andthen hate some more; and he handles the evil underdog with thecontrol of a seasoned pro.
But “The Green Mile’s” finest performance comes from Duncan as theenchanted but doomed hero. Never has an actor shown such enigmaticrestraint as Duncan, his eyes able to fixate on a moment as ifclinging on for dear life. The glow Duncan’s Coffey exhibits everytime that inner child is awakened flawlessly transports the actorbetween trusted confidante and misunderstood angel and makes for thetype of performance the Academy loves to ignore, but should relish inrecognizing.
Perhaps “The Green Mile’s” greatest asset is its ability to drawout emotion — real emotion. In an era when feeling seemed to bedemanded by a director, Darabont seems perfectly content in playinghis hand and allowing audiences, whatever the reaction, to playtheirs honestly and wholeheartedly.
