It is perhaps one of the greatest ironies in film or literature that Stephen King, one of the great humanist writers of our time, could be the source of one of the greatest Christian parables ever committed to pen or placed on celluloid. Frank Darabont?s first creation, The Shawshank… More
It is perhaps one of the greatest ironies in film or literature that Stephen King, one of the great humanist writers of our time, could be the source of one of the greatest Christian parables ever committed to pen or placed on celluloid. Frank Darabont?s first creation, The Shawshank Redemption, was and is awe-inspiring, but with The Green Mile he has created one of the five greatest films of all-time.
At nearly three hours long, and shot in a style which is slow-moving, it?s by no means an easy ride. And whereas Shawshank gave you something in the way of a happy ending, with Tim Robbins and Morgan Freeman embracing on the edge of the Pacific, this is dark the whole way through. There are, however, several moments of light humour to give the audience ample relief, for instance where Wild Bill (Sam Rockwell) spits the moon pie at Brutal (David Morse), or the dark but warm banter between the guards and the governor (James Cromwell). Even the character of Percy becomes funny in the end; the more cowardly he becomes, the more ironic the humour is until he gets his comeuppance in the last hour.
This film, like Shawshank before it, is a feast for the intellect riddled with little touches, visual motifs and allegorical exchanges which renew one?s faith in the power of cinema. John Coffey, played by the amazing Michael Clarke Duncan, is more than just a faith healer who is a victim of a miscarriage of justice; he is an allegory for Jesus, who suffered similar plight before his death. The racial prejudice of 1930s America is analogous to the racial antipathy between the Romans and the Jews, culminating in Jesus being condemned to death at Pilate?s hands. Coffey?s ability to perform miracles comes at a price, both in his growing reputation and the physical toll it takes on him (remember that sequence in the Gospels where Jesus and the disciplines take the boat out into the centre of the lake to completely escape the crowds?). And finally, like the Lamb led to the slaughter who did not open his mouth, Coffey accepts his fate in sure knowledge of his innocence, to demonstrate how flawed our existence is and how our world is empty and futile without unconditional love.
Like some of Stanley Kubrick?s later films, The Green Mile is also a subtle commentary on the dual nature of the prison system, something which simultaneously dignifies and dehumanises the individual. On the one hand, the guards in the prison are perfectly civilised. They deal in death every day and yet they are not reduced to animals as a result of their jobs. With the exception of the sadistic coward Percy (Doug Hitchison), they are all genteel, salt-of-the-earth individuals, who treat each other and the prisoners with dignity and respect. On the other hand, they live their lives on Death Row, a place designed to sap the human spirit and destroy all hope. The guards are hard when they have to be, are cynical, disillusioned with their faith and difficult to shake out of their routines. And the prisoners vary in their responses to their fate, from tearful remorse (John Coffey) to insanity (Wild Bill) and quiet acceptance.
Tom Hanks has given many great performances over a career spanning three decades, but this has to be his best. He was wrongly overlooked for the Best Actor Oscar, perhaps due to winning it twice in a row earlier in the 1990s for Philadelphia and Forrest Gump, and being nominated the previous year for Saving Private Ryan. He inhabits Paul Edgecomb like no other character he?s ever played, combining hope and cynicism, light and dark in perfect measure, to achieve both pathos and humour. Supporting roles from David Morse, Barry Pepper and James Cromwell are also highly commendable.
The film is beautifully shot, with great sets which are both expansive and claustrophobic. The direction is languid but no scene is allowed to overstay its welcome just to prove a point. This is a dark, tragic, tear-jerking film which will bring you to tears and warm the heart in equal measure. The greatest film of the 1990s, a real must-see.