Winter People

I just watched this movie and what a well-spent evening!Thoroughly enjoyable.I can think of no flaws whatever with this film. The scenery is beautiful as well. Another plus.I can't imagine anyone not being pleased with their experience in seeing this film. It has drama,romance and wonderful relationship studies,and development.

I don't know what else to say without rambling! I can't believe IMDb insists that you must meet a minimum required amount of sentences to post a comment,SHEEZ! Just be sure not to pass this one up if you get a chance to see it. Fotunately my library had it. I don't remember ever hearing of it before.

Wayland Jackson (Kurt Russell) and his young daughter leave Pennsylvania and movie to rural Appalachia in 1934. Now considering the poverty in this part of the world, particularly during the Depression, this is an odd decision to say the least. On their way, Wayland's truck breaks down and he and the daughter make their way to a local cabin where Collie (Kelly McGillis) and her baby live. She lets them stay a bit, as it's cold outside and soon the pair fall in love. However, the baby's ne'er-do-well and extremely violent father returns for one of his rare visits...and he nearly kills Wayland and attempts to force himself on Collie. What's next? Well, a LOT...including threats from the violent man's very violent and awful clan.

The film has some remarkably good and restrained acting. In addition to Russell and McGillis doing a fine job, the oddly named Jeffrey Meek is exceptional as the evil father of the baby and the rest of the supporting cast (including Lloyd Bridges and Mitchell Ryan) are superb.

As for the story, it's compelling and has many twists and turns. You might not like these...but they do make for a story that is hard to stop watching.

Overall, a very well done film....not always pleasant but exceptional nonetheless...and far better than its current 6.3 rating on IMDB.

This movie was filmed near my hometown in the Western North Carolina mountains in a little community called Plumtree in Avery County. The severe winter weather depicted in the film is like it really is. The elevation here is about 3500 feet and the area gets enough snow to support a large snow skiing industry.

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.

Deceptively marketed as a "Deliverance" retread, it has, in fact, more in common with Peter Weir's "Witness" and Richard Pearce's "Heartland". Kurt Russell plays Wayland Jackson, a humble widower who begins a new life with his daughter in North Carolina. When he meets and falls in love with Collie Wright (Kelly McGilis), he must prove his mettle to her father (Lloyd Bridges) and deal with local animosity towards him.

Director Ted Kotcheff, who also made "First Blood", "Uncommon Valor" and the brilliant "Split Image", a scathing look at a religious sect, brings his considerable experience with personal politics to this well made, beautifully acted, snow-bound drama.

The film's last act is where the violence flares and the stage is set for several bloody, taut altercations. The film, however, never loses sight of its personal story and focuses closely on the courage and resilience of good, honest folk.

John Scott's score is hypnotic.