Looking for Jesse ?8I;J:I899C< ? 8 I ;J:I 8 99C< A\ee`]\i CXni\eZ\ gcXpj FqXibj ^ìc I\\ è ÉNèk\iÊj 9fe\%Ê A\e ee`]\i CXni\eZ\ gcXpj FqXibj ^ìc I\\ è ÉN N`èk\iÊj 9fe\%Ê 8 pfle^ ^ìc dXb\j X [Xe^\iflj 8 pfle^ ^ ^ìc dXb\j X [Xe^\iflj [ f[pjj\p è ÉNèk\iÊj 9fe\Ê f[p pjj\p è ÉN Nèk\ ` \iÊÊj 9fe\Ê Yp ;\YiX >iXe`b Yp ;\YiX >iXe`b 9p 9 pR RICHARD I CH A RD VVON ON B BUSACK U S AC K dffej_èè^ _Xj \mfcm\[ dffej_èè^ _Xj \mfcm\[ èkf jg\\ \[$Zffbè^% èkf jg\\[$Zffbè^% T Adapted A dapted from from Daniel W Woodrell’s oodrell’s novel,, Debr ra Granik’s Granik’s spar e, gripping novel, Debra spare, film concerns concerrns 17-year-old 17-year- old R eee Dolly Ree (a tough an nd thoroughly thoroughly b elievable and believable JJennifer enniffeer Lawrence) Lawr w ence) and her sear ch search ffor or o a fatherr who has vanished. B efore he he sskipped kipped b ail o nam ethBefore bail on methm ak king ccharge, harge, ffather ather JJessup essup signed signed making o ver h is h ouse aand nd w oods tto o tthe he b ail over his house woods bail b ondsmen. R ee h ad p lan nned tto o jjoin oin bondsmen. Ree had planned tthe he A rmy and and u se the the ssigning igning bonus bonus Army use tto o help help the the rest rest of of her her family—two faam mily—two yyoung oung children children aand nd a m other mother iincapacitated ncap paccitated with with depression. depression. Instead, Instead, tthe he ggirl irl h ass to to h unt u p a ffather ather w ho has hunt up who d oesn’t w an nt tto ob ound an nd ttry ry tto o doesn’t want bee ffound and gget et tthe he ttruth ruth ffrom rom d istan nt rrelatives elatives distant ?< DiXe`b Fg\ej Ale\ (/ 81 M E T R O S I L I C O N VA L L E Y | J U N E 1 6 -2 2 , 2 0 1 0 | SA N J O S E . C O M | M E T R OAC T I V E . C O M SSebastian ebastian M Mlynarski lynarski metroactive FILM to a ffolk olk jam session o n led by by singer/ ffolklorist olklorist o Mar edith Sisco, Sisco, the film Maredith practic ally glows fr o the goodness om goodness practically from of the music music.. A Att thiss gathering gathering,, we see a familiar fac e. face. O ne o he p eople R ee iinterrogates nterrogates One off tthe people Ree iin nh er jjourney ourney iiss A pril ((Sheryl Sheryl L ee), her April Lee), tthe he eex-girlfriend x-girlfriend o ousin. L ee w ill off a ccousin. Lee will n ever b orgot ffor or h er p erformance never bee fforgot her performance aass tthe he ssylvan ylvan nL aura P almer o nT win Laura Palmer on Twin P eaks. H ow tto op ut tthis? his? S he’ll aalways lways Peaks. How put She’ll b eau utiful w oman, b ut sshe’s he’s aaged ged bee a b beautiful woman, but n oticeably. L ee—a fforest orest sspirit pirit sseen een iin n noticeably. Lee—a w inter—really complements complements G ranik’s winter—really Granik’s ttheme heme o uin iin n tthese hese d ark w oods; off rruin dark woods; h er p resence iiss o hose ffeats eats o conic her presence off tthose off iiconic ccasting asting tthat hat m ak kes yyou ou ggasp asp a little. little. makes T he ssubject ubject m atter o inter’s B one The matter off W Winter’s Bone m ight h ave ccome ome ffrom rom JJohn ohn S ayles— might have Sayles— tthe he writing writing is is sympathetic sympathetic and an nd lowlowk ey ass iin n a Sayles Sayles picture—but picture—but G ranik key Granik sseems eems m ore w atchful iin nh er cchoice hoice more watchful her o onpro aactors ctors tthan han an S ayles w as, off n nonpro Sayles was, fframing raming them them ssmartly, marrtly, ggiving iving them them m ore rroom. oom. And And no no ssense—as ense—as iin n more S ayles— of a sscript cript tthat hat h as iitt aall ll d own Sayles—of has down iin n print, print, o he d oubly u nderscored orr o off tthe doubly underscored eemphasis mphasis o n tthe he ggoodness oodness o he on off tthe w orking-person’s h eart. working-person’s heart. W iintteer’’s Bone st ays y m ysterious eri , Winter’s stays mysterious, eeven ven as it strays straayys close closse to do cumentary. The most m t talked-about talked-ab ed outt documentary. sc ene—the skinningg and cleaning nin of scene—the a squirr el for fo or dinner—is dinnerr—is one on of the t squirrel most immaterial. immaterial This Th his can’t can’tt b the bee the first squirr el the Dolly Do olly family il has ily as squirrel eaten. And the sc en ne of R eee giving ng scene Ree sho oting lessons to her little little br b other her shooting brother just b effor o e he bags that t squirrel also so before squirrel seems false: most ki ds in the deep dee kids wo ods shoot shoot at an early e age. woods age. N evertheless, tthe he fi lm’s fi neness Nevertheless, film’s fineness llies ies in in tthe he llittle ittle details: details: the the nonoccomment omment ttour our o ee’s h igh sschool, chool, off R Ree’s high tthe he ROTC ROTC p raccticing in in the the gym gym practicing aand nd a solidly solidly improvised improvised sscene cene o off aan nA rmy rrecruiter ecruiter lowering lowering an n Army aapplicant’s pplicant’s expectations. expectations. E ven jjoining oining Even tthe he military militarry might might not not be be a way way out out o hese w oods. L awrence’s o wn off tthese woods. Lawrence’s own fi erceness ggives ives tthis his ssurvival urvival sstory tory tthe he fierceness k ind of of iimmediacy mmediaccy tthat hat tthe he ssummer’s ummer’s kind aaction ction movies movies ccan an no nly ggrope rope aat. t. only