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44 of 48 people found the following review helpful:
5.0 out of 5 stars
Eventually All Things Merge Into One, And A River Runs Through It..., February 21, 2006
A River Runs Through It is a haunting, powerful, nostalgic, drama directed by Robert Redford and based upon the autobiographical novella by Norman McLean. The film follows the McLean family growing up in rural Missoula Montana, raised on a steady diet of fly fishing and strict religious conservatism. The film embodies strong messages about the human condition and man's struggle against himself and his external reality. Showcasing the incredible acting abilities of a young Brad Pitt, breathtaking cinematography, and a lush sweeping score by Mark Isham, A River Runs Through It is simply one of the finest coming of age family dramas ever created. Won an Academy Award for Best Cinematography.
The film opens with a shot of the river, and then a montage of sepia tone photographs of Missoula Montana in the 1930's. Redford memorably recreates the period, in an ode to early America. Norman McLean is (voice over narration by Robert Redford) recalling the memories of his life since past. We learn that he and his brother Paul (Brad Pitt) were brought up by his strict Presbyterian preacher father (Tom Skerrit), in an extremely conservative environment, their father introducing them to fly fishing, and yet making no clear distinction between the two. Although it will come to serve as a counter point to their religious grounding (Freedom versus Restraint). Fly fishing serves as a metaphor for the way that each son will approach life, literally and symbolically. The River (Water) is a constant motif in the film that also serves as the never-ending physical and emotional challenge that will eventually shape their destinies.
We learn that Paul (Brad Pitt) is the rebellious younger brother, who "toughness came from somewhere deep inside of him", while Norman (Craig Sheffer) is the more conservative brother. In an early scene, Paul further rebels and refuses to eat his food. We watch the boys grow up. Paul comes up with an idea to steal a rowboat and "shoot the chutes", (ride the boat down the huge waterfall) everyone else chickens out when they finally reach the river, except Paul and Craig. Craig reluctantly goes along with his brother's impulsive urges, for fear of looking afraid. Back at home, the boys are confronted by their distraught parents, who found out from another one of the boys parents. Their father tells them that they will go to church and pray for forgiveness. The next morning during lunch, Norman and Paul engage in a brawl that is a result of their two personalities clashing. We hear that was the only time they ever fought. Norman is accepted into Dartmouth College on the east coast, while Paul stays in Montana. This begins to foreshadow Paul's inability to change his situation, while Norman has the means to seek his own path. Four years later, Norman returns home, Paul has taken a job as a Helena reporter, and developing as a fly fisherman. In their first fishing trip together, we learn that Paul has broken free from the structure of his father's "four count rhythm" and developed a more improvisational technique called "shadow casting". We begin to see how fly fishing will symbolize the course of Paul's life.
Norman meets a pretty girl named Jessie Burns (Emily Lloyd) at the local fourth of July dance in an awkward encounter. He makes arrangements to see her again, and they meet Paul and his Indian girlfriend one night. Paul, has brought his Native American partner along, (a statement to the rebellion of his character) and causes some commotion at the bar. We meet Jessie's brother Neal, who is visiting from California, an arrogant, self flattering drunk, who is the heart of the Burn's family. Norman agrees to take Jessie's brother Neal fishing one day, and they return to find Neal and his friend passed out in the sun among a couple of empty beer bottles. In a mirrorlike situation, Jessie and her brother are symbolic of Paul and Norman. Jessie as Norman, and Neal as Paul. (note the similarity in name) Jessie asks Norman "How come the people who need the most help, won't take it." Norman is not able to answer her, and it is through their relationship that we begin to see the McLean's more clearly.
The film slowly unfolds itself, letting the viewer appreciate it's subtle yet powerful storylines. Perhaps it is so effective because it appears matter of factly. It does not come across heavy handedly. Norman is called by the police station to pick his brother up one day, having gotten into a fight over his girlfriend. Paul becomes increasingly in debt at the local gambling house, and has also become an alcoholic. As his life slowly spirals into oblivion, he is unaware of the consequences of his actions. Norman immediately recognizes the destructive path that his brother is heading towards and offers to help. Paul stubbornly refuses to take the money and help that his brother has offered to him. Norman has been accepted to teach at the University of Chicago and urges Paul to come with him. Paul realizes that he will never leave Montana, and so does Norman. In the family's final fly fishing trip together, Paul has seemingly transcended the art of fly fishing, having mastered his method of "shadow casting", and makes an incredible catch. Paul has ironically found freedom from his father's religious upbringing through fly fishing, although he is simultaneously being destroyed by his own rebellion. We are presented with the duality of man and his conflicting inner desires to find equilibrium on many levels. Although Paul has found peace with nature, he is struggling to resolve inner demons that plague him. The inner demons that will eventually destroy him.
Redford's commentary on the healing power of nature and the stubbornness of the human spirit is a a testament to man's universal struggle against himself. Indirectly, we recognize that there is only so much a family or person can do to protect someone. We realize that love is simply not enough, and that eventually a person will take their own path that they were meant to take. The River ultimately symbolizes the destinations that are unstoppable as much as nature itself is unstoppable. Everyone's course is their own. In its ambiguity and power, it is at once haunting and beautiful.
*The rerelease A River Runs Through It contains a brand new Anamorphic widescreen presentation, the image is stunning, although "Deluxe Edition" is misleading. Aside from trailers, text only filmographies, and a collectible scrapbook, there are no additional special features*
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37 of 40 people found the following review helpful:
5.0 out of 5 stars
Stunning Scenery, Wonderful Story...and Brad Pitt too!, March 25, 2003
This review refers to the Columbia/Tristar DVD edition of "A River Runs Through It"...
Even with Brad Pitt co-starring in this film, it was the awesome cinematography that kept me mesmerized. Filmed in the lush mountains and rivers of Montana, director Robert Redford and Director of Photography Phillipe Rousselot(who won an Oscar for his work on this film)capture the beauty of this land and the story.
Based on a autobiographical novella by Norman Maclean, we are swept back to the earlier part of the 20th century with the Maclean family. Family, church and Fly fishing came above all else. Norman, played at the younger age by newcomer Joseph Gordon-Levitt(who was honored with the Young Artists award in 1993 for his performance), and his younger brother Paul are close and come from a loving but highly disciplined household, run by their stern father(Tom Skerritt) the Reverend of the small town church. The Rev. is strict when it comes to their education, but a big part of that education is the freedom to fly-fish, enjoyed by all the Maclean men.
We watch as Norman and Paul grow into men(Craig Scheffer/Brad Pitt) and how differently their lives turn out. Norman grows into a fine scholar, but Paul takes a different path. His is one of a rebel, who finds trouble at every turn. But always they have their love for each other, their family, and their love of fly-fishing. Paul turns it into an art that is a sight to behold in that beautiful Montana scenery.
Other fine performances are turned in by Brenda Blethyn as Mrs. Maclean, Emily Lloyd as Jessie Burns, the girl Norman loses his heart to and Vann Gravage who plays the young Paul. A beautiful music score by Mark Isham adds greatly to the view without being obtrusive to the story. A fine screenplay by Richard Freidenberg will draw you in and keep you there. It's a great break from action movies without getting overly dramatic.
It is rated PG, but probably not appropiate for the younger viewers, there are some adult themes as well as brief nudity.
Columbia has done justice to this beautifully filmed movie in it's transfer to DVD. Just Gorgeous! Remastered in anamorphic widescreen(if you prefer full screen, that is on side B)with excellent clarity of the colors as well as the picture. The sound remastered in Dolby 2.0 Surround was very good, but I would have loved to hear it in 5.1. It may be viewed in French, Spanish(also stereo),or Portuguese(mono), and has subtitles in these languages as well as English. There are theatrical trailers and Talent files, but no other special features.
If your in the mood for a great action thriller, this is NOT it! This is a film to just sit back and savor.....Oh and I really did enjoy Brad Pitt's performance(almost as much as the scenery)...enjoy....Laurie
also recommended:
Meet Joe Black
The Color Purple
Studs Lonigan (1960)
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29 of 31 people found the following review helpful:
5.0 out of 5 stars
Cinematic Poetry., March 9, 2004
I don't think anybody who has ever visited the American West, particularly the north-western states of Montana and Wyoming, hasn't come away deeply impressed with the majestic beauty of their mountains, rivers, streams, endless skies, prairies and meadows. Many probably went home to find that the photos they took, trying to immortalize their impressions, just didn't seem to do justice to the real thing, and wishing they possessed the craft to adequately capture the region's beauty in images, whether literary or visual. Robert Redford has succeeded to combine words and pictures in this stunning adaptation of Norman Maclean's 1976 autobiographical novella "A River Runs Through It."
Set in early 20th century rural Montana, this is the coming-of-age story of the author and his brother Paul, sons of a Scottish Presbyterian minister who raised them with both love and sternness and instilled in them, more than anything else, an understanding for the divine beauty of their land, symbolized by and culminating in a fly fisherman's skill in casting his rod, and his ability to become one with the river in which he fishes. For, in Norman Maclean's words, in their family "there was no clear line between religion and fly fishing;" and growing up, the brothers came to believe quite naturally that Jesus's disciples themselves must have been fly fishermen, too; and that consequently every good fly fisherman is closer to the divine than any other human.
But while they were united by their love for their native land and its rivers and fish, the brothers couldn't have been any more different on a personal level. And thus, this is also a story of brotherly (and parental) love and loss, of the inability to communicate, and of dreams and aspirations nurtured and fatally disappointed. While disciplined, sensible Norman (Craig Sheffer) left Montana for a six-year college education at Dartmouth and ultimately - after having temporarily returned home and taken a bride - to assume a teaching position at the University of Chicago, rebellious Paul (Brad Pitt in a truly career-defining role) knew that he would never leave his home state and "the fish he had not yet caught;" and opted for a journalist's life instead. But ultimately he wasn't able to fight the demons that possessed him; and his parents and brother had to stand by and helplessly watch him embark on a path of self-destruction, reduced to comments on symbolic matters like Paul's decision to change the spelling of their last name by capitalizing the "L" ("Now everybody will think we are Lowland Scots," scorned their father), where to open topicalize their concerns would have destroyed the careful equilibrium of mutual respect, love, hope, caution and guardedness characterizing their relationship. And so, only after Paul's death could his father tell a hesitant Norman that he knew more about his brother than the fact that Paul had been a fine fisherman: "He was beautiful" - and mourn in a sermon, even later, that all too frequently, when looking at a loved one in need, "either we don't know what part of ourselves to give or, more often than not, the part we have to give is not wanted. And so it is those we live with and should know who elude us. But we can still love them. We can love completely, without complete understanding."
Craig Sheffer and Brad Pitt are perfectly cast as the earnest, reasonable Norman and his maverick brother Paul, who relies on his innate toughness in his fateful attempt to take life to its limits and still beat the devil, but who also turns the casting of a fishing line into an art form that makes a rainbow rise from the water, and who with his greatest-ever catch stands before his father and brother "suspended above the earth, free from all its laws, like a work of art." Moreover, this movie reunited Robert Redford with Tom Skerritt, with whom he had first shared the screen in the 1962 Korean war drama "War Hunt" (both actors' big-screen debut), and who gives a finely-tuned, sensitive performance as the Reverend Maclean. Notable are also the appearances of Brenda Blethyn as Mrs. Maclean and Emily Lloyd as Norman's bride-to-be Jessie. But the movie's true star is Montana itself, particularly its rivers and streams; every frame of Philippe Rousselot's Academy Award-winning cinematography and every sweep of the camera over Montana's magnificent landscape, and along the silver bands of its rivers with their gurgling cataracts and waves curling softly against their banks, powerful testimony to Robert Redford's genuine love and respect for the West and for nature in general; the causes closest to his heart and matched in importance only by his efforts to promote a movie scene outside of Hollywood. And Redford himself assumes the (uncredited) role of the narrator, thus bringing to the screen Norman Maclean's lyrical language and uniting words and pictures in an audiovisual sonnet, subtly accentuated by Mark Isham's gentle score.
Both movie and novella end with the lines that have given the story its title: "[I]n the half-light of the canyon, all existence fades to a being with my soul; and memories, and the sounds of the Big Blackfoot River, and a four-count rhythm, and the hope that a fish will rise. Eventually, all things merge into one; and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs" - those of Norman Maclean's now-lost loved ones; those he "loved and did not understand in [his] youth." As we have had to learn, it is not only human life that is terminal; even nature itself (including, incidentally, the Macleans' beloved Big Blackfoot River) is not immune to destruction by human carelessness. This movie is a powerful plea to all of us not to wait until it has become too late.
Also recommended:
A River Runs through It and Other Stories, Twenty-fifth Anniversary Edition
The Norman Maclean Reader
Norman MacLean (Western Writers)
The Big Sky
Desert Solitaire
Jeremiah Johnson
The Horse Whisperer
Legends of the Fall (Deluxe Edition)
Spy Game (Widescreen Edition)
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