Review
Walk the Line
- Director
- James Mangold
- Year
- 2005
- Rating
- Reviewed by
- Gon Curiel a.k.a. Groucho
- Review date
- Monday, February 13, 2006
The key to a film like this is to make the audience empathize not only with the character (which is the key to any film) but to his work. Cash’s music is passionate and overall likable, and even though, as I said, I didn’t know much of it, I found it to be a great accompaniment to a biography. Matter of fact, in this case it makes Cash more likable than he is by nature, since he was something of a luminous figure onstage and a dark one off. Why? Depression, addiction, haunting feelings of loneliness and regret, you name it.
Though framed by an immortal concert in Folsom Prison, the film is traditionally linear, and surprisingly unglamorous. It never quite makes it easy for Cash as a character (played by Joaquin Phoenix), as it shows quite well how he became what he became in part because of his talent and charisma but in great part because of his luck and a couple of people he related with. One of them, and most important of all, was June Carter (Reese Witherspoon), a lifelong singer who felt much less talented than she actually was, and soon stuck to Cash for tours and duets. She never thought of herself as good as Cash in terms of talent, but she knew she was a much more centered person than he was, head on her shoulders, and soon made it one of her tasks to help him away from vices and his own dark side that was constantly threatening.
Cash is a childlike character indeed, the kind that grows up and loses track and must be guided. He’s a lovable man, a noble but difficult one. June is like a caring mom, but she’s also fun and hip. That Cash falls for her despite his marriage to teen crush Vivian (Ginnifer Goodwin) is no surprise; but one of the lessons he must learn is to take a woman seriously. And there’s a long road to that.
Based on a couple of Cash’s autobiographies, the script by Gill Dennis and director James Mangold never loses focus on the man’s career, and perfectly transmits the accelerated life of an artist of his kind. There’s enough atmosphere to transport the viewer through time, with wonderful appearances of such people like Elvis Presley (Tyler Hilton) and Jerry Lee Lewis (Waylon Payne).
Furthermore, the film’s 100% genuine in the way the actors actually perform every song, instead of lip-synching, a brave decision that works like wonders; musician T-Bone Burnett trained and coached Phoenix and Witherspoon and achieved something spectacular. For a couple of hours you forget these voices aren’t like the ones of the singers they’re supposed to belong to.
The performances are brilliant. Phoenix is incredible, but Witherspoon is even better, in the indisputable performance of her career (so far), completely disappearing into the role, and even looking prettier than ever. I just love it when a film makes me forget that I’m seeing an actor, even though he or she is so well known, and this is the case with Witherspoon. Hers is the best female leading performance I’ve seen from 2005.
Supporting roles are also notable, from which I’d pick Robert Patrick’s—as Johnny’s father—as the best of the bunch.
“I walk the line”, “Ring of fire”, “Cry Cry Cry”, “Folsom prison blues”, “Juke box blues”, “It ain’t me babe” and “Jackson” are just some of the songs that easily stick to the mind, either sung by Johnny, June, or both.
This film’s a quality crowd-pleaser, and a gem.
“Fortunately I keep my feathers numbered for just such an emergency.”
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Review
Walk the Line
- Director
- James Mangold
- Year
- 2005
- Rating
- Reviewed by
- José Ruiloba a.k.a. Morris
- Review date
- Tuesday, February 28, 2006
The movie opens in 1944 Arkansas, where 12-year-old Johnny Cash (Ridge Canipe) lives with his father Ray (Robert Patrick), mother Carrie (Shelby Lynne) and siblings. After a tragic incident that leaves him marked for life, Johnny (Joaquin Phoenix) pursues his dream of being heard on the radio. He eventually starts a band in Memphis called Johnny Cash and the Tennessee Two and marries long-time love Viv (Ginnifer Goodwin). It is when on tour that he meets singer June Carter (Reese Witherspoon) and a special connection is instantly born. From then on Johnny has to deal with his battle with drugs and alcohol, his spiral of fame, his tumbling married life and the love he feels for June.
I will say it right upfront: Walk the Line is a biopic that does feel like one (does the contrary even exist?). Gill Dennis and director James Mangold wrote the screenplay based on two books, “The Man in Black” and “Cash: An Autobiography”, which trail Johnny’s life from beginning to end. The movie mostly covers the period in his life when he became famous, then went down and finally went up again. It goes from point A to B, following Johnny as he signs with his first label, gets married and eventually goes on tour with such guys as Elvis Presley and Jerry Lee Lewis. But what makes the movie a more solid biopic than usual is that it has a central effective love story at its core. I’d actually rather think of the movie as a love story than anything else. I like it more that way, even though it’s mostly strong in everything it wants to achieve.
The dynamic between Johnny and June was certainly unique. She was all about fun and charisma. She admitted that she didn’t have that great a voice, so that’s why she learned to be funny. Johnny, on the other hand, was a dark individual, haunted by a tragic incident in his childhood and by a father who never stood by him. He used music to exonerate his demons. And that’s why June came as such a breath of fresh air. They connected, they complemented each other. But they didn’t have it easy, for their lives were much more complicated than that.
Truth is, when both are on stage the movie soars. There are countless songs performed throughout the movie, some of them in complete form. But none are more vigorous and exhilarating than when they sing together, even outshining the infamous Folsom Prison concert which bookends the movie. It could be said that the entire film rests on them being on-screen together. This is Johnny’s story, but June is the heart, soul and savior.
Joaquin Phoenix and Reese Witherspoon have both received loads of acclaim for playing these roles. They both manage to mimic the real-life personas on which their characters are based, and they both sing their own songs. I used to say “so what?” to that, but when I saw the movie and realized both Johnny and June had very distinct ways of singing I came to appreciate their efforts a lot more. It’s not just about having a good voice, but about translating that into their characters’ singing style. And of course, it’s also about getting under the skin. I was especially impressed by Reese. June was like a chameleon and Reese manages to make it look easy. Of course it’s not, which makes her performance the more remarkable. Supporting work by Robert Patrick, Dallas Roberts, Ginnifer Goodwin and many more is solid.
Kudos to director James Mangold for crafting such a heartfelt and complete movie.
“Fortunately I keep my feathers numbered for just such an emergency.”
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