They say it's possible to fall in love within a day, and some novels and movies have valiantly attempted to depict these 24-hour scenarios over the years, but with Cold Mountain we never really fall for the premise hook, line and sinker. The main characters Inman and Ada barely exchange one and a half conversations before they are separated. They share one interrupted kiss and then Inman, a carpenter by day, is called away to fight in the Civil War. She, a preacher's daughter, will devotedly wait for this acquaintance to return, and we might believe her decision to stick around if it weren't for the fact that Ada bears a striking resemblance to Nicole Kidman.
Inman is played by Jude Law, and his character decides, in a moment of romantic inspiration, to desert the army and make his way back to his true love. On the way, he encounters a dishonest minister (Philip Seymour Hoffman), a promiscuous ferry operator (Jena Malone), a goat-herding good samaritan (Aileen Atkins), a backwoods brothel owner (Giovanni Ribisi), and a lonely, widowed single mother (Natalie Portman). Meanwhile, his beloved Ada (Kidman) lives with her father (Donald Sutherland) until she is forced to fend for herself after he dies. Ada stays in her funk until workhand and resourceful character Ruby (Renee Zellweger) shows up and manages to singlehandedly turn the estate into a farm. Ruby and Ada gradually develop a kinship, especially in light of some mishaps of their own. The local bully Teague (Ray Winstone) has harrassed their next door neighbours (Kathy Baker and James Gammon), the crows are creating havoc on the crops, and Ruby's abusive father Stobrod (Brendan Gleeson) re-enters her life much to her distress.
Throughout Cold Mountain I found myself wondering how accurate certain parts of it were. In several scenes we see a photograph that looks more like a black and white snapshot from 1964 than 1864. Many of the props look modern, including a piano that seems and sounds out of place. I have no doubt that authenticity was researched and of paramount importance in the film, particularly with director Anthony Minghella at the helm. Still, it's hard to shake the feeling of lingering anachronisms, especially with some of the film's songs as composed by White Stripes genius Jack White (he has a Depp-like supporting role in the film too).
Always the bridesmaid, never the bride, Renée Zellweger is a shoo-in for a supporting actress Oscar nomination and likely a win too as the plucky Ruby. With a peeled back upper lip showing bucked teeth, she infuses life into all the scenes she's in. Though the role is a cakewalk by virtue of the way it's written, the academy has long been waiting to award Zellweger and this will be her moment to shine. Kidman and Law are denied romantic chemistry by virtue of the machinations of the plot, but each rarely falters in his or her established moments. The expansive supporting cast easily slides into their Southern accents, although they don't always look as hard done by as one would think. One could argue it is the eclectic mix of guest stars and their brief appearances that prevent the film from going off the rails.
Cold Mountain has a number of good moments but it never really attains a level of greatness. It's been generating lots of buzz, but there is definitely something missing, although I can't pinpoint what exactly. Generally, it feels, well, cold. The emotional payoffs in the last third don't reach liftoff. When I went to see it in the theatre, there wasn't a spare seat to be found, and by the end of it most of the audience had only managed to laugh at the comic relief scenes and failed to weep at Minghella's attempted dramatic moments. The film is skillful and gorgeous to look at, but doesn't wrench the way it potentially could. Perhaps everyone had the same thing on their minds as I did: What parent in their right mind names their children Inman, Ada, Stobrod and Teague, anyway?
