‘The Green Mile’, a film directed in 1999 by Frank Darabont and in which he repeated the adaptation of Stephen King's literary work and with the same prison theme.
After ‘Life imprisonment’ it became clear that Darabont can read Stephen King very well and move his literary language to the big screen with a remarkable result. In ‘The Green Mile’, without fear of repeating itself in topics and with courage, Darabont, a Hollywood artisan, adapts the work by deliveries of the writer, knowing how to maintain the original spirit and raising the result, watch now the movie to see for yourself.
However, we confess that we have never felt a special predilection for this film. We were much more excited with ‘Life imprisonment’ and with this story that mixes melancholy, drama with fantastic touches was (and has happened to me in its review for this review) of lesser depth.
It cannot be denied that the good work of Frank Darabont is appreciated throughout the film. A good direction of actors (although sometimes it costs an excessive Tom Hanks in the scenes of urinary difficulties), with an excellent cast, a magnificent staging (the most brilliant of the film) that make it one of those films that Hollywood academics like so much. Not forgetting how much the careful production direction helps, thoughtful and bright enough to help the perfectionist packaging that distills the film.
The story of that green corridor is a prison drama with death row inmates and their guards, good-hearted guards, good people, family members who do their work with coldness, professionalism and maximum respect to the prisoners, treated with great humanity. Here the work of Darabont is brilliant in the portrait of the guards in the jail, detailing his routine and taking out that kind and sentimental side in a hard task that he has to face with death.
In that portrait the character of John Coffey stands out, the one played by the recently deceased Michael Clarke Duncan, who manages to bring out even more that sensitive side of the guards' hearts. Especially that of the role of Tom Hanks. The character, of which there is no precedent, of which we hardly know anything, appears surrounded by mystery, of tenderness, of certain magic that is intuited in spite of its aspect of black giant.
Clarke Duncan convinces on the basis of maintaining the tone of his character throughout the story, not looking for excess (although his softness and tears seem excessive in some scenes) and go taking more prominence as the story progresses, getting a bright work.
We cannot say the same about the work of the villains. Incarnated by a most cretin guardian and a mad psychopathic prisoner. They are the worst off standing in the cast. Excessive, predictable, flat and without force. Only credible at times when more content is shown.
As for the narration of Darabont, which lasts for more than three hours, it can only be said that he stops excessively in the introduction scenes. He knows how to take the viewer with patience to the main story, to that supernatural and fantastic point in which the goodness and evil of the human being is questioned, the main theme of the film and that is precisely located in a blunt place to reflect on it: the hallway that leads to the terrible end of the death penalty in an electric chair.
Although, we do not want to underline small imperfections of a film so correct, bright in its staging, emotional in some excellent scenes and powerful in its conclusion. Darabont knows how to dress the film with the best resources of the classics, from its prologue and epilogue, which are not original, but they help notably to tell this magical tale dressed in realistic prison drama, watch online the movie to judge by yourself.