True Grit

A brief commentary on the film, “THE COUNTY”
A Film by Icelandic director, Grímur Hákonarson,

Review by John Bennison, Mountain Shadow Director

In 2016, Mountain Shadow audiences enjoyed Grímur Hákonarson prior film, “Rams.” Set in rural Iceland, it told the story of two estranged brothers; who ultimately found a way to discover their deeper selves in the embrace of the other (The dvd is available in the Member Lending Library). While the filmmaker distinguishes the general theme of his latest film as more of a social versus relationship-based commentary, the evolutionary development of the lead character in “The County” remains central to the story line.

As is often the case, the general storyline in “The County” is a familiar one. An individual’s life is turned upside down by circumstances not of their own choosing. Then the status quo of the “system” in which they’ve been confined and defined is no longer suitable or acceptable. Change requires a different response; and, as a result, there is often a form of liberation, death and rebirth.

As such, I’ve often observed and remarked that originality in a plot is hardly the best criteria to define a film’s excellence. Rather, it is a matter of how well the familiar plot is credibly and authentically told. The names, faces and places may change; but the human story that rarely portrays anything new under the sun anyway has more to do with resonance, than novelty. In the cinematic art form, I’ve sometimes described this as “true grit.” This is the context in which I’ve assessed this film.

In the opening scene, the wife / dairy farmer, Inga, is assisting a cow who is calving. It is hardly a pretty sight. She has wrapped chains around the front hooves of the calf; and is tugging and pulling the slimy critter out of its birth mother’s womb with all her might. It is both an obvious metaphor and a prelude of what’s to come.

When desperate personal circumstances require Inga to challenge the system in her rural community, we see the familiar themes with power structures that have been corrupted by – who else – those in a position of power; with survival of the institution – not its original purpose -- having become paramount. In this case, the rural county’s co-op has been co-opted; and with the obvious irony of it all, has become completely uncooperative.

(Spoiler Alert) In the end, it is left up to the individual viewer to decide who truly wins or loses the match. Some may conclude, yep, the institution always wins. And, in so doing, loses something in the process. While the heroine, like Inga, loses everything; only to find herself released from the co-op and her former shackled self.

As she (literally) drives off down the road and out of the only town she’s only ever known, she boisterously sings along to a song on the car radio,

“I always hope for gladder days,
Don’t want to die so sad.
I can’t let boredom do me in,
Or drive me downright mad.
Time for me to live my life,
Be happy and be free,
Now’s the time to leave this place,
I’ve got the world to see …”