Drowned in glycerin

The eternal, fertile plot is love and war: inseparable sisters, both in the armor of self -sacrifice, saved more than one text from oblivion.

Briton Anthony Mingella should be especially grateful to the named couple - she has already brought him nine Oscars for the “English patient” (1996). Today, the calculation, according to all estimates, is also accurate, although it gives a self -reproach: love and civil war (of course, in the USA). The north-yellow wind blowing in Hollywood brought the “ cold grief ” already six nominations, including as important as the “main male role” (Jud Law), “Supporting Actress” (Renee Zellveger), “Soundtrek” (Gabriel Yared). Well, the epic is a favorite lullaby of nation, and the melodrama is the best enzyme for revitalizing costume masses. That's why, by the way, they consider the story of Scarlett O'Hara indestructible and undoubted classics.

Mingella perfectly understood that he could not avoid comparisons with the "blown by the wind", and therefore he took the novel by Charles Fraser. The priority’s plot allowed a slight displacement of accents: from a lyrical saga to anti -war drama. According to the director’s quite obvious plan, the war not only shakes the line of the separated and reunited lovers, but also makes up the constantly present, all -permanent reality. The war is everywhere - not only in a meat grinder of the advanced, but also in the nightmares of the rear, where poverty and looting reign, where militias who have been brutalized from impunity, who cut out entire families on suspicion of covering deserters, reign. The hero’s internal tragedy is also stated: Inman (Lowe), a professional and courageous warrior, loses faith in ideals for which he is fighting, generally refuses to fight. But - forced to kill several other people, of course, very bad, scoundrels -pleasures before perishing himself. His spiritual breakdown is equivalent to the verdict. Although, on the other hand, the long-awaited date with the sophisticated and beautiful Ada Monroe (Nicole Kidman), for which Inman-Lowe became a deserter, went in the best way. They would live and live ...

They live - in an epilogue, together - Kidman with a daughter - a live reminder of his father, brave and beautiful Inman, in the town of Cold Mountain, where he was so striving.

I only set out the design of the plot, how it should work. But - does not work.

Even amazing - after all, all components are really selected, archprofessional, from filming to actors. First-class source material, with a claim, if not at the Apocalypse Today in the decorations of the 19th century, then on something close. But it turns out - unintelligible. And the point is not in the format of the film - 155 minutes, of course, the time for the viewer is uncomfortable, but it all depends on what these two and a half hours are filled.

It seems that it was the issue of filling the plot - genre, psychological, and even, if you like, ideological - was not resolved by the director.

Applying, obviously, the creation of a high anti -war (and as a super -task - and existential) drama, Mingella tried to pay no less attention to what is called Lav Stori. As soon as Nicole Kidman is declared in the credits, her presence must somehow justify: to show her in love, and closer to the final - and undressed. It is strange, however, it doesn’t occur to the director that Kidman is able to cope with the role of much more powerful and deeper than an erotic engine in a hat with ribbons (“Dogville” he may have passed, but he probably heard something about him, not to mention “wide open eyes”). It is clear that an actress of this level should find her approach. Alas, it seems that Mingella sees only another Hollywood film blonde in Kidman. The same with Lowe - all his duties were limited to diligent wearing the type of rebellious macho. Could two performers who are rusted with an unbearable plot and schematic directing, depict a fatal passion - in general, strong passion, whether hatred or despair?

The Cold Mountain is fraught with similar questions. Mingella mixes such emotionally rich genres as melodrama and a pacifist film - and gets only falsity and boredom at the exit. Here is not only love - but also the war is unreasonable. All these shifted, stuck explosions, fake wounds, glycerin tears - well, would surprise at least once, at least a single frame, the European, in the end.

However, the difference in cultures and the wealth of traditions in this case has nothing to do with it. There is another. Here you have to go to persons.

It just seems to not believe Mingella in all this. Neither in love through the cold and guns, nor the suffering of human, nor in the internal transformation of the soldier exhausted by violence. He does not believe and does not feel. And there are no considerations, there are no beliefs on this subject. Therefore, he cannot convey feelings-self-ideas-ideas to the viewer. He takes off for the cash desk, for the sake of producers, even (as he thinks) for the sake of the public. Just not for yourself.

That differs the artisan - from the master.