I was sad to find I didn't love this as much as I had remembered from its release nearly 30 years ago.
The acting is terrific, and the film looks great. But the main plot has elements of familiar melodramatic clichés that bugged me more now in a way they didn't in 1984. The race to save the farm, and the 'we'll do it despite the odds!' dialogue felt a little too Hollywood this time around, as did the 'perfect' gallery of downtrodden, oppressed outsiders (the single mother, the African-American, the blind man).
At the same time, the subplot of the romantic triangle between Ed Harris, Lindsay Crouse and Amy Madigan, while wonderfully acted, really seemed to have very little at all to do with the rest of the film.
That said, all the acting (Sally Field, Danny Glover, John Malcovich) is terrific, and the details of time and place are rich and vivid is slightly (intentionally) softened by the haze of the passing years (Benton grew up in the town where the story takes place).
And that wonderful long last shot, which gives the whole film a larger context, is still a powerful and brave way to end a story.
The acting is terrific, and the film looks great. But the main plot has elements of familiar melodramatic clichés that bugged me more now in a way they didn't in 1984. The race to save the farm, and the 'we'll do it despite the odds!' dialogue felt a little too Hollywood this time around, as did the 'perfect' gallery of downtrodden, oppressed outsiders (the single mother, the African-American, the blind man).
At the same time, the subplot of the romantic triangle between Ed Harris, Lindsay Crouse and Amy Madigan, while wonderfully acted, really seemed to have very little at all to do with the rest of the film.
That said, all the acting (Sally Field, Danny Glover, John Malcovich) is terrific, and the details of time and place are rich and vivid is slightly (intentionally) softened by the haze of the passing years (Benton grew up in the town where the story takes place).
And that wonderful long last shot, which gives the whole film a larger context, is still a powerful and brave way to end a story.