By Alan Scherstuhl
By Stephanie Zacharek
By Carolina Del Busto
By Amy Nicholson
By Simon Abrams
By Kevin Dilmore
By New Times
By Amy Nicholson
Written and directed by Maggie Greenwald (The Ballad of Little Jo), Songcatcher combines strong feminist sensibilities with surprisingly old-fashioned melodrama. The independent and ambitious Lily is a strikingly contemporary -- and universal -- heroine. A woman in an almost exclusively man's world, she is an accomplished professor of musicology whose struggles to advance professionally are continually thwarted by her male colleagues. After being passed over for promotion for the umpteenth time, Lily flees the city for the backwoods of Appalachia, where her sister Elna (Jane Adams of The Anniversary Party and Happiness) runs a school for the children of the poverty-stricken farmers and bootleggers who inhabit the isolated region.
Not surprisingly, Lily's initial efforts to penetrate the fiercely insular world of the mountain people meet with suspicion and hostility. Her superior attitude and domineering manner strike a particularly discordant chord in Tom Bledsoe (Aidan Quinn), one of the few locals who has spent time in "the other world," as they refer to so-called civilized society.
Lily's ongoing clash with Tom is one of several key relationships that fuel the story. The others include Lily's friendship with Tom's gun-toting grandmother, Aunt Viney (a wonderful Pat Carroll), and with a young orphan named Deladis Slocumb (teenage opera star Emmy Rossum in her feature debut), who has the voice of an angel and sings many of the film's most beautiful ballads (including Come All You Fair and Tender Ladies and Lord Randall). Lily's exposure to these people, experiencing their struggles -- and their goodness -- close up, has a profound effect on her. While never losing her drive or stubbornness, she finds herself opening up emotionally.
"I've never been anywhere where music is [so much] a part of life, like the air you breathe," she gasps in appreciation and awe. Suddenly, what had always been a strictly academic, intellectual pursuit takes on a feeling dimension, transforming Lily in the process.
McTeer is such an imposing presence it would seem difficult for any man to play opposite her, but Quinn more than holds his own. As headstrong as she is, he also has experienced life's injustices and disappointments and, like Lily, he has responded by shutting himself off emotionally. It is only through music that he comes alive.
Rejecting the hard, gritty look of Walker Evans or Dorothea Lange, early 20th-century photographers whose stunning pictures emphasized the poverty and dark underbelly of rural America, Greenwald opts for a soft, almost storybook look for her film (which was shot in the Blue Ridge Mountains of North Carolina). Although the corporate coal-mining villains are always close by, trying to bully the subsistence farmers into selling their land at dirt-cheap prices, we never glimpse the eroded mountains and ugly ravages of strip-mining. Rather, the landscape has an ethereal beauty: primitive but lush, unspoiled and unpolluted.
While Songcatcher (an old mountain term for someone who collects songs) probably won't spark a folk revival, traditional music enthusiasts will most definitely want to see it (Iris DeMent and Taj Mahal have small roles that allow them to showcase their talents). Moviegoers who don't know the music but are curious will find a most palatable introduction to it here. Appalachian music occupies a distinctive place in the history of this country's musical heritage, for it was the marriage of the sometimes lilting, sometimes intensely melancholy Old World folk melodies to the equally traditional but more primitive rhythms and beats of Africa -- which, itself, gave rise to the Southern blues -- that lies at the heart of all American music, from folk to bluegrass to country, blues and rock 'n' roll.
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