Winter's Bone

Just back from seeing this at the Edinburgh Film Festival, and at the Q&A afterwards, the director, Debra Granik (refreshingly eloquent and well beyond the usual wanting to thank the world and his wife for being here at EIFF) described her film's subject matter as 'hard scrabble'. Although she wasn't referring to a Russian Roulette version of the popular literacy board game (now there's an idea for a film...), it was an evocative description of the tough slice of backwater American life served up here. The basic storyline – a teenagers plight to save her dependent family from imminent homelessness because of the actions of an errant and now-absent father – felt both authentic and compelling, as did the way the local community closed in around her, meting out both violence and support in equal measure.

Using grey and oppressive colour tones, the entire film is shot in a bleak wooded landscape, where the grizzle-bearded men all look like they've just left the set of 'Southern Comfort', and the straggle-haired, world-weary lined faces of the women add to the unspoken sense of the harsh reality of life here. I doubt they see many tourists in this neck of the woods, and at the same time, the film steers well clear of the 'and if they did, they'd probably eat them' stereotype. I liked the sparse and effective use of bluegrass-folky-type music, which cut through, and gave some relief to, an otherwise fairly unremitting sense of hopelessness.

Although the subject matter is an uncompromising reality-check to much of the superficial Hollywood drivel that fills our multiplexes, this is not a hard watch. At its' heart, it's a good story, well-told, with excellent central performances (particularly John Hawkes and Jennifer Lawrence) and an open-hearted sense of the local community here, in spite of their bread-line existence. 7/10.

It is quite astonishing what people are capable of when their survival or way of life is threatened. In those moments, they are somehow able to employ a level of courage, perseverance, and high intention that they never knew they had. Such is the case for young Ree Dolly (Jennifer Lawrence) in Debra Granik's The Winter's Bone, winner of the Jury Prize for dramatic competition as well as the Waldo Salt Screen writing Award at the Sundance Film Festival. Newcomer Lawrence, a Kentucky native, is completely convincing as the 17-year-old Ree who has endured much in her brief lifetime and has plenty of obstacles yet to overcome. Living in poverty in a small house in the rural Missouri Ozarks, near the Arkansas border, she has to cook, chop wood and do whatever is necessary to care for her twelve-year old brother Sonny (Isaiah Stone) and her six-year old sister Ashlee (Ashlee Thompson) as well as look after her mother who is catatonic.

Based on the novel by Daniel Woodrell and co-written by Granik and Anne Rosellini, The Winter's Bone depicts how young Ree's life is changed when the local sheriff informs her that her dad, Jessup, on the run after being arrested for "cooking" methamphetamines, has put the family's house up as bond and that, unless he is found and convinced to turn himself in, Ree's family will lose their house. Insisting to the sheriff that she will find him, the young girl begins a search among friends, family members, distant relatives, and the community of small-time crooks, dope dealers, and kingpins that dominate the male-dominated rural society. No one wants to talk and Ree is met with silence, hostility, and even violence. One neighbor tells her that her questioning is, "a real good way to end up et by hogs." When someone asks her, "Ain't you got no men folk to do this?" the answer is an emphatic "no." (at times, the film seems to be challenging Juno for the most quirky one-liners).

Ree's main antagonists are her father's terrifying older brother Teardrop, played by John Hawkes, and Merab (Dale Dickey), the wife of Thump Milton, one of the local bosses. The performance by Dickey conveys an overbearing sense of intimidation that is both real and frightening. As Ree navigates through this hostile environment, we grow to admire her determination and her willingness to confront danger in order to protect her siblings. Winter's Bone is a film about poverty and desperation but it never exploits its characters or engages in manipulation or sentimentality. Though it can be hard to watch at times, it is not as some critics have said "poverty porn." There are lighter moments as well that include authentic Ozark folk music sung by Marideth Sisco and scenes of Ree teaching her brother and sister to spell, count, and perhaps more important for survival, how to shoot a rifle. She also tells her younger brother about the culture in which they live saying "Never ask for what ought to be offered."

Though I was riveted by the unfolding story, perhaps because of the film's high degree of stylization, I stopped short of full emotional involvement and was often conscious of the fact that I was watching a movie. Yet The Winter's Bone is a rich, satisfying film that more than deserves the accolades it has been receiving. Though it is stylized, it has an authenticity derived from using local residents as actors and from the director having immersed herself in the culture for two years before shooting the film. Jennifer Lawrence conveys a stoic and hard-edged individual, yet one with integrity who has somehow avoided getting sucked into the soul destructive way of life that seems to be endemic to the area. In Ree, Granik has created one of the strongest female characters in cinema in memory, one who, by her sheer will, suggests what could be accomplished if all of us could live each day as if our life depended on it.

Rarely do I have the privilege to see a film that is so raw, so real, that it takes over your senses and becomes much more than just a great movie - it becomes an experience or an event. "Winter's Bone" is the little movie of 2010 that does just that - it takes over your senses because what is happening on the screen is unabashedly and uncommonly real and not-Hollywood like that you become immersed in this rarely- explored world of the Ozarks.

Using a novel by Daniel Woodrell, director Debra Granik and co- screenwriter Anna Rosellini crafts a stark tale about a teenage Ozark girl who is forced to find her missing father before she and her two siblings get thrown out into the wild, due to dad putting up the house as a bond for his bail. The script is beautifully written, with very natural dialog throughout, you'll feel like you're there watching them. Every line has a meaning and is not without purpose, the main characters fleshed out in detail without excessive dialog overshadowing the character itself. The story is logical and extremely believable, and makes for a tense experience during the film. There are no clichéd Hollywood subplots and the story couldn't be more direct than a bullet to the heart. This is neo-noir at its finest.

I can't say more about the actors, because they are all excellent in their own unique way. Especially and most notably Jennifer Lawrence as the protagonist Ree Dolly. Now Ree's father is missing and mother gone sick, and she has to take care of her two siblings all by herself. To make matter worse she has been taking some flak because of her family name's notoriety due to her father's mistakes, but she remains steadfast and strong, unmoved like a rock. She learns how to be responsible and independent all by herself, and she is a tough character whose spirit shall never be broken, however hopeless and desolate her situation is (perhaps that is what built her character in the first place in absence of her parents). If Ree knows what to do, she does it. If she doesn't, she'll ask someone for help. She's being honest and not just smart. Keep in mind that this is an Ozark girl we're seeing on the screen, but there has very rarely been a hero(ine) that is so daring, brave and real, that the audience is firmly placed on her side as soon as trouble starts brewing. Ree has to face both the Ozark wilderness and the shady underground, both of which can cause serious trouble for her (and she does get into it). All Ree wants is to make sure her brother and sister have a roof to sleep under every night. To me, that selflessness and the love of her family that drives her makes her one of the most memorable and greatest female film heroine of recent times.

Which comes back to Jennifer Lawrence. She is absolutely terrific and perfect as Ree, a real knockout of a performance. She perfectly displays a balance of emotions and expresses her feelings with her face and not just explaining everything straight out of her mouth like so many hero(in)es. This is a true blue breakout performance for her and I honestly think she deserves many Best Lead Actress awards for her performance, and not just Best Breakout star. I've seen many movies and Lawrence's performance beats many previous Oscar winners' performances hands-down. Kudos also to other supporting actors, especially John Hawkes as Ree's uncle Teardrop, who delivers a guilt-ridden, burnt-out depiction of a nearly lost soul.

The Ozark landscape in the movie is beautiful to watch, but it emits a haunting, bleak presence. Something dark and mysterious but at the same time so simple and real. It is astounding the way Granik films these scenes to deliver the raw power and authenticity these images can deliver. It's like looking at a painting that comes to life. The interior of the buildings (and around them) are quite messy at times but it shows just how bleak the situation these people have to face every day. Not a pretty thought for us "normal" people, but then again what is normal when all Ree wants is to keep her family safe and nothing more? Kudos to the production designer and cinematographer for creating and/or choosing a unique setting that not all moviegoers can experience everyday. The atmospheric, ambient music pulls you in even further into this strange yet quietly dangerous world.

2010 has been a dull year for mainstream movies, but among the little known ones this could very well be the best one. I really hope the Academy doesn't overlook this like so many unfortunate movies before. It's a bit too soon for me to say but this may not only the film of the year, but also a true American masterpiece of a landscape that is nearly neglected by the public. A must see.

Overall rating: 94/100

While I have seen many more entertaining film and certainly more profound, I cannot remember the last time I saw a film so realistic I felt I was there.

The very realism of "Winter's Bone" undercuts its pacing and dramatic impact. The film opens slowly and my wife nearly lost interest before the story engrossed her. Perhaps given my "country cousin" roots, I was immediately taken in. As a writer I was astounded at how many times I could not predict what would happen next. Yet, every scene flows naturally into the next.

While I found some of the dialog unintelligible, the "natural sound" so accentuated the film's atmosphere I didn't care. Certainly, I had no trouble understanding all the necessary interchanges.

While all performances are "pitch perfect," Jennifer Lawrence and John Hawkes certainly deserved their Oscar nominations and numerous awards. Likewise, writer/director deserved her Oscar nomination for writing. She should have received one for directing. In any event, she is one to watch and, in my opinion, a much better director than Oscar winner Kathryn Bigelow.

There are no really "big" messages here. Nonetheless the "small" messages of humanity,community and personal honor shine like a beacon. I give "Winter's Bone" a "10".

Greetings again from the darkness. A double award winner at the Sundance Film Festival, this film is based on Daniel Woodrell's novel and is directed by Debra Granik. It's opening sequence slaps the viewer with the bleak unforgivingness of life in the backwoods of the Ozarks. This is land of people that time has passed by.

The basic premise of the story is that 17 year old Ree Dolly (played by Jennifer Lawrence) is responsible for raising her brother and sister and caring for her mentally-blank mother while maintaining a mostly positive outlook on the present and future. Reality strikes again when the local sheriff arrives to inform her that her missing, meth-lab running father has an upcoming court date. He used their land and house as collateral for his latest bond. If he fails to show, they will lose their home. Instead of breaking down, Ree pledges to find him and starts out on a hazardous journey, unlike we have seen on screen.

This community of mountain people are distrusting of outsiders, but stunningly, are just as paranoid around insiders and even family members. Their way of life seems to depend on pure independence, even though they all seemed intertwined in the same illegal activities and daily quest for survival. Some kind of odd code exists - ask nothing, give nothing and get rid of any obstacles.

The driving forces of the story are Ree and her constant hope and courage, and her bond to her dad's only brother, Teardrop played chillingly by John Hawkes. Teardrop tries to toughen up Ree and get her to accept her plight, while Ree constantly shows his there is reason to plow forward.

The film is very well written and the local filming brings a harsh reality that was crucial to the film's success. Additionally, I was stunned at the fierceness displayed by Jennifer Lawrence as Ree. Her performance reminded me of my first exposure to the talents of Meryl Streep (The Deer Hunter) and Evan Rachel Wood (Thirteen). Talk about powerful and exciting ... what she did with this role vaults her immediately into a very small group of actresses who can carry a movie with their presence. I am anxiously awaiting her next appearance - a Jody Foster project.

I also want to mention the music in the film. The vocalist, Marideth Sisco, is also the vocalist in the living room band who makes an appearance in one scene. Her voice truly captures the balance of hope and acceptance of plight. This is not a movie for everyone, but it is fascinating and hardcore.