Widowed clockmaker Kurt Russell brings his daughter, Amelia Burnette, to the Carolina Piedmont. There he falls in love with single mother Kelly McGillis. However, when the baby's drunken father comes calling, the pair of them are forced into desperate action.
The movie is replete with carefully offered symbolism, almost certainly from the novel by John Ehle), mostly about the wintry stasis of people and society during the early stages of the Roosevelt New Deal, to characters' names (I'm reading Scott's KENILWORTH, so Russell's character's name of "Wayland" seems apt), to the way cinematographer Francois Protat lights the shots in a greyness that doesn't break until the end. Ordinarily I would find this sort of movie pompous with its easy-to-analyze details substituting for the things that interest me most: character and story.
This one never does, thanks to a fine cast under a solid director. Ted Kotcheff may be best know for his gross comedy hit WEEKEND WITH BERNIE, but his long resume shows a respectful handling of movies about subcultures: not only THE APPRENTICESHIP OF DUDDY KRAVITZ, but NORTH DALLAS FORTY.
The movie is replete with carefully offered symbolism, almost certainly from the novel by John Ehle), mostly about the wintry stasis of people and society during the early stages of the Roosevelt New Deal, to characters' names (I'm reading Scott's KENILWORTH, so Russell's character's name of "Wayland" seems apt), to the way cinematographer Francois Protat lights the shots in a greyness that doesn't break until the end. Ordinarily I would find this sort of movie pompous with its easy-to-analyze details substituting for the things that interest me most: character and story.
This one never does, thanks to a fine cast under a solid director. Ted Kotcheff may be best know for his gross comedy hit WEEKEND WITH BERNIE, but his long resume shows a respectful handling of movies about subcultures: not only THE APPRENTICESHIP OF DUDDY KRAVITZ, but NORTH DALLAS FORTY.