Cold Mountain Directed by Anthony Minghella

Cold Mountain Directed by Anthony Minghella
Cinema Release Date: February 18, 2004
With Jude Law, Nicole Kidman, Renee Zellweger
American feature film. Genre: Drama, History
Time: 02h33min Production Year: 2003

In an America torn by the Civil War, a man and a woman will do towards each other the most extraordinary journeys. Pastor's daughter, Ada spent his youth in music, art and well-being of a widowed father, she loves more than anything else. Simple worker, Inman is a man of fierce, taciturn, alien to civilized society, steeped in Southern culture and traditions, which surrounds Ada.

A simple glance, some clumsy words, a stolen kiss on the eve of leaving for the front, yet enough to instill absolute love, where Ada and Inman will draw strength and courage to face separation, loneliness, misery, and the most cruel trials of war ...

In 2003, Anthony Minghella found the Talented Mr. Ripley for Cold Mountain, especially when it gathers Nicole Kidman, Renée Zellweger or Natalie Portman (find it for Atonement, her - unfortunately - the last movie) .

The context of the plot is typical of the war widow who thrives on hope one day to return his beloved (the base number of novels such as the adapted A Long Engagement by Sebastien Japrisot). While it is typical that it is interesting. If history speaks of Japrisot conviction and presents it as a strength that allows us to move forward. Cold Mountain, of course, speaks to the strength of hope, but also the precious moments. Reason, any part of the film until the leak has nothing substantially Inman melodrama. Even the start of the war is like asking a particular approach to the genre: Minghella did not film a long kiss with a perfect background music but shows two characters kissing violently as if they took consience after several years of time they lost. However, it is not several years but a few moments. Cold Mountain tells nothing other than how moments of life are so brief they can upset her.

The film opens with an impressive battle with Ridley Scott (the only scene of war) has pretty pretend to give a tone quite different than the actual movie. Playing on the parallel editing, the film still appears as a kind of war movie, but for the love of war (the battle of one to find it - battle each other to live) where the two sides are not enemies, but separated by a force above them. The report to the enemy is also very interesting and speaks volumes about the stupidity of war. The sequence in which the nationalists want to raid the home of Sara (Natalie Portman) is unbelievable in its violence first and then with his purpose: saving Inmar a soldier and asked him his place to hide while Sara, thinking that he abused his baby (when he is alone in worrying about it), shoot him as he started to escape. The view of the young soldier in appearance "enemy", it returns completely customized template and let Sarah as the barbarian, it is not. The war leads to a hatred that switches people in revenge, even the bravest ...

The scene of the well and its purported revelation is the last point that deserves a s'atarde above. This is perhaps the second theme after the epicurean taste to enjoy the moment: the belief. What matters does not seem the obvious - everyone claims logical qu'Inmar died, rocking Ada in a bottomless sadness - but what we chose to believe. This vision is a little "myth" of the well is a reflection of what his heart tells him, "he will come back." And finally this vision clearly showed the dying, yes, but with it, as if the will had clearly beaten.

With all this, so there is a solid foundation that the form does not mess with pretty scenery and especially a splendid game players really dazzling.

A nice story, meaningful, touching and moving.