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Walk the Line

Fri., February 10, 2006

People’s experiences and memories are so subjective. It makes you wonder about the whole idea of ’historical fact.’

Johnny Cash, Cash (1997)

Poster for 'Walk the Line.'In that quote, Cash was referring to the Lewis and Clark Expedition, but he could have been talking about his own biography, or his biopic, Walk the Line, which I saw tonight with Jimi, the Man and Mike.

I’m not the biggest fan of biopics, particularly the ones like Line that follow the formula: 1.) obscurity; 2.) popularity; 3.) downfall; 4.) redemption. I cringe at the clumsy visual cues (usually briefly glimpsed newspaper clippings) and verbal nudging (“Hi, I’m Sam. Sam Phillips.”) to identify lesser-known details in the subject’s life. Plus there’s the Oscar-baiting inherent in playing a beloved but “complicated” musician (see also: Ray, Amadeus, Shine).

Truth be told, Cash’s story fits the formula well, particularly because even he didn’t sugarcoat his own life story while he was still living it, chronicling his amphetamine addiction, infidelity and inability to ever see eye to eye with his father. The film deals with the best chunk of Cash’s life, from his late-1950s country music superstardom playing with the likes of Jerry Lee Lewis, through to his infamous Folsom Prison concert in 1968, the same year he married June. Joaquin Phoenix does a fine job channeling Cash. He sings well, too, or perhaps I should say, like Cash, although the real Man in Black’s register was richer and lower. Reese Witherspoon doesn’t get as close to mimicking June Carter’s voice, but I get the idea her sass and her spunky attitude, particularly in the male-dominated country music world, is closer to the truth. Some of the movie’s warmest scenes are when John and June meet cute while still married to other people, or when they’re singing together.

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