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| Year: 2005 |
| Director: James Mangold |
| Cast: Joaquin Phoenix, Reese Witherspoon, GWaylon Payneinnifer Goodwin, Robert Patrick, Dallas Roberts, Dan John Miller, Larry Bagby, Clay Steakley, Johnny Holiday, McGhee Monteith, Rhoda Griffis, Tim Ware, Brandon Raines, Jan Falk, Cody Hanford |
| Genres: Romance, Musical, Family, Drama |
| Runtime: 136 min. |
| IMDB: This film on IMDB |
| Subtitles: OpenSubtitles.org |
| Wallpapers: available |
J.R. Cash takes an early interest in music while growing up on an Arkansas cotton farm in the Great Depression. He is very close to his elder brother Jack, who dies in an accident involving a table saw in 1944 when J.R. is out fishing. His guilt about this event is not helped when his father blames him as well, so it comes as a welcome escape when he is old enough to enlist in the air force and is sent to Germany. Inspired by a film he sees there, Inside the Walls of Folsom Prison (1951) he composes a song, "Folsom Prison Blues." Leaving the air force Cash marries and attempts to succeed as a door-to-door salesman in Memphis, Tenn. but his heart is in music and he succeeds in an audition with Sam Phillips at Sun Records. Soon Johnny is touring and meets June Carter, who has been a country star since childhood. Although they are drawn to each other, they are married to others. Touring takes a toll on Johnny's marriage, and in the 1960's he becomes addicted to amphetamines. His marriage ends and June helps him beat the drug dependency. Reading fan letters from prisoners inspires Cash to perform a concert at Folsom Prison, which leads to a very successful album. June finally accepts Johnny's proposal of marriage given as they perform together on stage in Ontario in February, 1968. |
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Comments |
| Date: 2007-03-24 07:16:24 |
User: Martin |
| Johnny's story—the whole story, that is—is a hopeful one, because it's about redemption. Mangold hints at this in Walk the Line, but moviegoers are left thinking that salvation came not from Jesus, but rather from a hit record recorded live at Folsom Prison. That's not fair and it's not true. … Mangold … was much too interested in Johnny and June's love affair with each other to spend much time on what God was preparing them for. |
| Date: 2007-10-04 11:08:35 |
User: James Shields |
I've long thought that James Mangold was one of the most underrated American directors; while other acclaimed auteurs like Wes Anderson and David Gordon Green have made names for themselves by essentially repeating themselves with each film, Mangold has attracted considerably less attention for actually having the gall to show some range. Like the great directors of the Hollywood studio system, Mangold shows visual and narrative skill across a wide array of genres: character-driven crime (COPLAND); horror (IDENTITY); issue-oriented drama (GIRL INTERRUPTED), etc. What each of these films shares in common is a stunningly elegant and expressive visual style, an attention to character reminiscent of Renoir, and an economy of storytelling that would make Howard Hawks envious.
Now Mangold has delivered his masterpiece, and it's the best studio release I've seen so far this year. WALK THE LINE, Mangold's story of the relationship between Johnny Cash and June Carter, is deliriously romantic, exhiliratingly entertaining (as a musical it invites and earns comparison with the best of Vincente Minelli), and profoundly moving--all set to a spectacular soundtrack. Joaquin Phoenix and Reese Witherspoon are both brilliant as Cash and Carter, but not only in the ways you would expect. Their most impressive achievement is to convincingly portray two people falling in love in a manner that's sincere and sweet but never cheaply sentimental. This is the most unabashedly romantic American movie since THE NOTEBOOK, but it's totally authentic and lacking in melodrama; the subtlety with which Mangold and his performers delineate the one step forward, two steps back nature of Cash and Carter's love affair is staggering. Phoenix is particularly brilliant, not only in the romantic scenes but in moments in which Cash discusses his brother's early death; in these scenes the major tragedies of both the character and the performer's lives merge in a way that is heartbreakingly real. And the movie gets across the intoxicating nature of creative collaboration between two people in love better than any film I've ever seen--perhaps no coincidence given that Mangold and his closest collaborator, producer Cathy Konrad, are married. I could (and will) go on about this movie for hours, but let's just say that it's the movie to beat for the rest of the year. |
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