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Posted January 29, 2011 by William Dunmyer in Uncategorized
 
 

Country Strong: Conventional but Wonderful

“Country Strong” is not a great film, but it’s a wonderful movie. Sure, it’s a television-level script directed like a TV movie. Sure, it’s at times schmaltzy and conventional as all get out. But like great country music, “Country Strong” is both superficial and in touch with deep wellsprings of feeling. It may be over-simplified, but it’s also profoundly in touch with the kinds of things everyone struggles with in life. Young writer/director Shana Feste will never be mistaken for an intellectual and probably will never win Oscars (or even be nominated), but she demonstrates a Spielberg-esque mastery of conventional filmmaking that could catapult her to the big leagues. She is a filmmaker to watch.

Gwyneth Paltrow, in one of the biggest casting surprises in years, does a wonderful job playing a country-music superstar just beginning to show signs of age. She not only does well with the singing, more importantly, Paltrow brings the whole character to life in a compelling and seemingly effortless way. It’s impressive that at this stage in her career Paltrow would stretch herself in exciting new ways. Also surprising is the casting of Leighton Meester as Paltrow’s young rival. How does one go from “Gossip Girl” to country music and pull both of them off? All indications are that Meester will have a huge career in the movies. She’s a natural.

Rounding out the cast are singer/actor Tim McGraw (“The Blind Side”), playing Paltrow’s husband and manager, and up-and-coming actor Garrett Hedlund (“Troy,” “Four Brothers”) as Paltrow’s May-December boyfriend.

At the start of the movie, we meet the childless Kelly Canter (Paltrow) as she’s getting out of rehab. Months earlier she had some sort of breakdown in public that jeopardizes her career, and her husband (McGraw) is trying to orchestrate a few comeback performances. She wants the young singer she met in rehab (Hedlund) to be her opening act; her husband wants a young female singer (Meester) to open. A battle builds between them over this.

Gradually, we learn more about this complex marriage. Feste does a great job conveying how much they love each other but also reveals the difficulties they have. Feste especially has a gift for exploring the ocean of feelings that can occur in the bedroom. Nothing can cut you in half like a lover turning his head when you try to kiss him. In many ways this marriage is over. But in many other ways it’s as strong as ever. What does one do in that situation? Get divorced? Keep the marriage but have affairs? Is a sexless marriage with real love worth saving?

One of the major sub-plots concerns the development of Canter’s young rival, Chiles Stanton (Meester). At first, she’s intensely insecure and almost incapable of singing on stage, but with a little coaching from Hedlund her performances begin to soar. One of the most beautiful moments in the film is when Stanton starts to realize that she has touched an audience of thousands. She is at first almost knocked over by their applause, not understanding it. But slowly it dawns on her what is really going on. This scene has such tenderness and delicacy that it reduced me and many of those around me to tears.

Another sub-plot centers on Canter’s alcoholism, which is severe. We watch her go through several painful relapses, which do become tiresome cinematically. Finally, there’s a huge melodrama at the end that goes way over the top, weakening the film. But my companion and I walked out remembering the wonderful parts of the movie and the great music. This made us feel like we were walking on air. Sometimes it’s a non-intellectual movie that hits the spot like nothing else can.


William Dunmyer

 
William Dunmyer is a lifelong cinephile who fell in love with movies at about the age of 5. He lives in New York City.