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 (102705) In the tradition of Norma Rae and Silkwood, North
Country is the story of one woman's struggle against an inflexible corporation.
Despite some third-act flaws that slightly weaken the conclusion, North Country
does what it sets out to do: inspire and uplift. It also provides a stark
reminder of the inequities faced by women as they attempted (and continue to
attempt) to achieve equal footing with their male counterparts in the workforce.
1989 (the year in which the bulk of the film transpires) isn't that long ago.
Many things have changed since then; sadly, the cultural shift has not
penetrated into the darkest recesses of some areas of employment.
North Country states that it is "inspired by true events." "Inspired" is
probably as good as any description, since the film's relationship to the real
world is thin. Josey Aimes (Charlize Theron) is a fictionalized version of Lois
Jensen. While some of the facts of the case and the general setting mirror those
of the historical account, most of what ended up in Michael Seitzman's
screenplay is fictional. I have no problem with that - it makes for a better
story - but this is a cautionary note to those who believe they are watching a
docu-drama. I really wish movie studios would cease-and-desist with "based on
true story" captions - they do nothing to strengthen the narrative and often
spark debates about the "accuracy" of the screenplay, when that's usually a red
herring.
It's 1989 in the North Country of Northern Minnesota, where iron mining
represents the lifeblood of many communities. Fleeing an abusive relationship,
Josey Aimes (Charlize Theron) returns to her childhood community with her two
kids, Sammy (Thomas Curtis) and Karen (Elle Peterson), in tow. Her mother, Alice
(Sissy Spacek), is delighted to see her, but her father, Hank (Richard Jenkins),
is not about to kill the fatted calf. After spending some time scraping together
a few dollars working at a local hair salon, Josey is persuaded by her friend,
Glory (Frances McDormand), to apply at the iron mine. Although the ratio of
men-to-women is 30:1, and the men are at times openly hostile to their female
co-workers (they believe the women are "taking away" men's jobs), the pay is six
times better than what Josey can make styling hair.
The conditions Josey encounters are beyond what she is capable of quietly
bearing (although that is the advice she gets from more than one corner). She
takes charges of harassment to her boss and is told to return when she has a
real problem. The company CEO tells her to resign, advice which she eventually
takes, but only after hiring a lawyer, Bill White (Woody Harrelson). Bill's idea
is to pursue the first class action lawsuit for sexual harassment. But will any
of the other women working at the mine stand alongside Josey?
On a dramatic level, North Country works for most of its running length. Josey's
story is compelling. She's the classic underdog fighting against the implacable
corporation. She's on the side of right and the forces of evil are aligned
against her. Bolstered by a solid performance from Academy Award winner Charlize
Theron, Josey is a three-dimensional woman - a single mother fighting to provide
for her children, and a daughter trying to earn her father's approval. To the
extent that we have all been underdogs at one time or another in the workplace,
we identify with Josey.
Director Niki Caro (Whale
Rider) does not attempt an evenhanded portrayal of
events. The story is presented unapologetically from Josey's vantage point. The
mining company and the men are the bad guys. (Not all of the men, of course, but
a sizeable percentage of them.) Some of the things they do to Josey and her
friend, Shelly (Michelle Monaghan), are reprehensible. One of the most effective
and touching aspects of the story is the way Josey's father, Hank, finds himself
caught in the middle - and eventually must choose sides. His emotional speech in
front of a union meeting is one of North Country's high points, both emotionally
and dramatically.
There are weaknesses. The court proceedings - to the extent that we see them -
are generic and unsatisfying. And, of course, we have the Big Dramatic Moment in
which the tide turns. The last scene is odd, with the court case left unresolved
(a closing caption tells us what happened). Instead, we get a "domestic" moment
that would have worked better if it hadn't been used to close the film. It's as
if someone recognized that the running time was north of two hours and the
proceedings had to be stopped immediately before viewers became restless.
Solid acting abounds, but one would expect no less with a cast of this caliber.
For the most part, the accents are well done, as well. (Sean Bean has a few
problems; for Frances McDormand, it's piece of cake, taking her back into Fargo
territory.) Charlize Theron may get an Oscar nomination for her work here,
although the performance is not as intense as the one she gave in Monster.
McDormand and Woody Harrelson provide solid support. Sissy Spacek is underused
here. But the one I want to single out is character actor Richard Jenkins, who
is superb. Jenkins' portrayal of Josey's conflicted father is believable and
powerful. Jenkins is one of those actors whose face is more familiar than his
name. He has appeared in more than 60 movies and TV productions, and is probably
best known for a supporting role in Flirting with Disaster and as a member of
the ensemble cast for Six Feet Under. He deserves official recognition for his
work in North Country.
Director Caro is a woman with a social conscience. Like
Whale Rider, North
Country is a personal drama with strong political overtones. Because of the
slightly flawed ending, I would judge North Country to be the weaker of the two
movies, but it's refreshing to see a foreign director come to Hollywood and not
cave in to pressure to make something sub-par just to get a product "out there."
North Country is not a perfect motion picture, but it is stirring and
emotionally forceful and, while that may not make it an Oscar contender, it
makes it worth a trip to the multiplex.
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