#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 1989. Josey Aimes takes her two kids, Sammy and Karen, and leaves her abusive husband Wayne, to return to her northern Minnesota home town. On a chance meeting with her old friend Glory Dodge who works as a driver and union rep at the mine operated by Pearson Taconite and Steel, Josey decides to work at the mine as well, work that is dominated by men in number and in tone. She does so to be able to stand on her own two feet for the first time in her life, something she probably could not have done if she remained in a job washing hair at a beauty salon. Working at the mine does not sit well with her father, Hank Aimes, who also works at the mine and who, like the other male workers, believes she is taking a job away from a man. Hank has believed that all Josey’s problems are of her own doing, ever since she, unmarried, had Sammy while she was still in high school. Josey has always stated that she does not know who Sammy’s biological father is, which fosters Hank’s attitude about her. Among Josey’s coworkers is Bobby Sharp, who many believe is Sammy’s biological father. Josey’s evangelical mother, Alice Aimes, stands by her husband in their general belief of traditional roles of men and women. Josey and her fellow female mine workers are continually harassed, emotionally, physically and sexually by their male counterparts. Every seeming step forward in the issue Josey finds is only a measure to lull the women into a false sense of security, or to make the fall even harder. Unable to withstand the abuse, Josey decides to sue the company for sexual harassment. She does so with the help of Glory and her husband Kyle’s friend, Bill White, an ex-New York lawyer who is facing his own emotional demons. They being able to get any corroboration is difficult as all Josey’s male coworkers are standing together, and all the women fear retribution by the company and/or their male coworkers after the fact. Even Glory is facing her own issues which prevent her from being that strong union voice. Only a small grain of the truth coming to light may be what Josey and Bill need…
Plot: A fictionalized account of the first major successful sexual harassment case in the United States — Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit.
Smart Tags: #sexual_harassment #lawsuit #based_on_true_story #female_worker #mine #union #minnesota #innocence #rape #iron #rape_and_revenge #turning_the_tables #rape_of_a_child #rape_of_a_teenage_girl #friend #miner #steel #taconite #beauty_salon #lawyer #high_school
|7.3/10 Votes: 40,209|
|7.1 Votes: 401 Popularity: 12.615|
Men Are Pigs
Niki Caro’s North Country dazzles us with its unfaltering right-mindedness even as it’s hammering us silly with ploys so shameless even Frank Capra would be embarrassed to have anything to do with them. You might call this the Schindler’s List approach – taking a position that no rational, halfway-educated person would dare oppose, then slipping in under this iron-clad cover to deliver the most unblushing exercise in emotional manipulation imaginable. Who would dare contend that the poor, down-trodden heroine of North Country, Josey Aimes, isn’t a courageous soul for standing up to all the icky iron-ore-miners who so vilely harass her and her female co-workers? There’s always a core of indisputability to movies like North Country, but around this concrete nucleus lie so many layers of bull that it no longer matters if the central premise is unassailable. Why is it necessary to resort to shameless movie tricks in the name of a truth ninety-percent of the audience would already regard as self-evident? Is it some instinct for emotional chicanery, some need to push the story beyond the factual and into some fantasy-land of super-nobility? Or is it simply that people like Niki Caro, and Spielberg, and Capra before them, don’t trust their audience’s ability to absorb the facts themselves, and feel they must garland them with simple-minded absolutism, didacticism and de-glamorization as a way of guaranteeing their message gets across?
The real-life drama concerns Josey Aimes (Charlize Theron), a married mother-of-two who leaves her abusive husband for the snow-swept hinterlands of Northern Minnesota, there to take up residence with her taciturn iron-miner father (Richard Jenkins) and soft-spoken mother (Sissy Spacek). Josey resolves herself not to fall into another bad relationship in the name of simple security; she needs the kind of job that will let her support her two kids herself, and the only job available is as a menial laborer in the mines, where the physical dangers inherent in extracting iron-ore come second to the ones posed by the primitive-minded, brazenly sexist, bodily-function-obsessed men who work there. Josey and the other girls are tough-cookies who can handle a little razzing, but what happens to them goes beyond chummy jocularity; the male miners resent the women, their intrusion upon the hallowed male workspace, and take obscene pleasure in systematically intimidating them. Josey comes in for an inordinate share of abuse thanks to the presence of an old high-school flame, Bobby (Jeremy Renner), whose attitude toward her remains proprietary, and thanks to her own dodgy sexual history, which gives the miners and their wives plenty of excuse to berate her. But Josey is not the kind to just turn-tail and run; she goes to management, which demonstrates no desire to shake-up the profitable status-quo by addressing the gripes of a single ill-treated woman, and when this doesn’t work she turns to a down-on-his-luck lawyer, Bill (Woody Harrelson), who agrees to bring her case to court as a class-action suit, provided she can convince more of her harassed female co-workers to take up the cause.
Movies like North Country are inherently patronizing – not just because they depict lower-class people in a hollowly ennobling, often stereotypical way, but because they’re made under the assumption that the gist will not get across to average people unless the factual story is dressed-up with melodramatic plot-movements, emotionally explicit acting and direct preaching. Niki Caro and her team are not interested in simple facts – rather than present the story straight-forwardly, even-handedly, they go out of their way in jacking the outrage to a fever pitch, emphasizing the yawning gulf between the ape-like behavior of the men and the saintly durability of Josey, who derives more radiance and strength from each insult and provocation. The situation is seen almost entirely from Josey’s point-of-view; the miners are a mass of hateful, vaguely grotesque humanity, a bunch of craggy-faced gargoyles in soiled coveralls, the managers and owners similarly callous, freakish monsters thinly glossed with duplicitousness. The photography emphasizes the hard, ugly faces of the miners while bringing out Josey’s own angelic glow; the movie divides humanity into bad people, who look like evolution has passed them by, and good people, who are all understatedly attractive. The heroine, Josey, is played by Charlize Theron less as a suffering human being than a symbol of feminine resolve in the face of patriarchal insensitivity. Theron was so impressive in Monster because she could affect pride and toughness while keeping her emotions close to the surface; in North Country Theron’s emotions crack the tough exterior, spilling forth in scene-after-scene of bawling, blubbering and snot-blowing. The emotions are pushed so forcefully by Theron and Caro that they become unseemly; we start out being ashamed of the behavior of the miners, but wind up more embarrassed for Theron, who is alternately a de-glamorized, quasi-iconic figure (she becomes almost Eisensteinian in her head-bandanna and coveralls) and a spewing tear-factory. Wouldn’t we feel sympathy toward Josey even if Theron didn’t turn every scene into a display of her ability to prole herself out, act the toughie or crumble into a mass of quivering, Oscar-worthy jelly? Wouldn’t we applaud the triumph of the just over the greedy and heartless even if the courtroom scenes didn’t degenerate into wild contrivance? The movie sells itself too hard; it’s not content to rest on being right, but must stagger us with its rightness, resorting to such base trickery that it undermines its own position, becoming nearly as crude-minded, as smugly self-assured as the people it’s against.
The Class Action.
Josey Aimes (Charlize Theron) leaves her abusive husband and returns to her hometown in Northern Minnesota. After a prompt from her old friend Glory (Frances McDormand), Josey now a single mother with two children to support, seeks employment at the town iron mine plant. Predominantly employing men, Josey is expecting the work to be hard and gruelling, what she wasn’t expecting tho is the mental and sexual harassment that the women and herself are expected to tolerate. Finally having enough, she starts to speak out about her treatment, but she finds that there are few allies both at work and at home. Her career, her life and her family are all sure to be affected as things reach breaking point.
North Country is inspired by the 2002 book Class Action: The Story of Lois Jenson, which details the landmark case of Jenson V Eveleth Taconite Company that changed the sexual harassment law.
There is always a danger in film land that serious, based on facts topics get too much of a Hollywood sheen. So shall it be with Niki Caro’s (Whale Rider) interpretation of this most important part of American law. The impact is there, very much so, but in the need to keep the audience on board, one feels they are being force fed drama when really none was needed. Having a beauty like Charlize Theron playing your lead hardly helps cast off the glossy feel of the production. “Rightly” nominated for Best Actress (she has gusto in abundance), Theron is however miscast as regards the nature of the piece, her aura and star bank-ability his hard to ignore during the more dramatic moments. As the New York Times review noted on its release, “it’s a star vehicle with heart,” and it’s impossible to argue with that astute summary.
Still there is much to enjoy here. In amongst the annoying contrivances put our way to further the emotional aspects, there beats a serious and dramatic heart. Coupled with a more than competently handled court case finale, and aided by McDormand’s highly effective performance, North Country makes its valid point in spite of its obvious problems. Though the film didn’t make back its budget of $30 million, it got people talking about the topic at its core. Putting the revolting issue of sexual harassment back in the public conscious can never be a bad thing, so with that, North Country achieved its aims. If it’s as impacting as its cousins, Norma Rae, Silkwood and Erin Brockovich is debatable, but it is potent and it is acted with aplomb from its principals. It’s just regrettable that one can’t quite shake off knowing it’s all a bit too glossy for its own good. 7/10
Original Language en
Runtime 2 hr 6 min (126 min)
Director Niki Caro
Writer Michael Seitzman (screenplay), Clara Bingham (book), Laura Leedy (book)
Actors Charlize Theron, Thomas Curtis, Elle Peterson, Frances McDormand
Awards Nominated for 2 Oscars. Another 5 wins & 18 nominations.
Production Company Warner Brothers
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.35 : 1
Camera Panavision Panaflex Millennium XL, Panavision Primo Lenses
Film Length N/A
Negative Format 35 mm (Fuji Super F-500T 8572)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic)