Respond to these rapid questions in our The Green Mile quiz and we will tell you which The Green Mile character you are. Play it now.
“We imagine this place as a hospital’s intensive care unit.” Paul Edgecomb, who oversees Death Row in a Louisiana prison during the Great Depression, states as much. All of Paul’s staff members are competent and compassionate, with the exception of the repulsive Percy, whose aunt is married to the governor and who could have any state job he desires but prefers it here because “he wants to see one cook up close.” Paul (Tom Hanks) is a nice man and probably nicer than the average Louisiana Death Row guard. A fresh prisoner shows up one day. He is a huge black man who ducks under doors and towers over security guards as the low angle video frames him. This is John Coffey, who has been found guilty of murdering and molesting two young white girls (“like the drink, but not spelled the same”). It is immediately apparent that he is not who he seems to be. For starters, he is scared of the dark. He shakes Paul’s hand firmly, not like a man who should be embarrassed of himself.
Paul is not having a nice summer. Percy (Doug Hutchison), who is like an infection in the ward, is causing him pain as well as suffering for him: “The man is mean, careless, and stupid–that’s a bad combination in a place like this.” Paul views it as his responsibility to maintain a dignified and calm environment as people prepare to die.
The film “The Green Mile,” written and directed by Frank Darabont, is based on a Stephen King book and so named because Death Row has a green floor. It is Darabont’s first picture since the great “The Shawshank Redemption” in 1994. Even though it was also based on a King prison tale, this one is very dissimilar. For starters, it has spiritual rather than spooky otherworldly elements.
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The relationships between a white guy and a black man are the main focus of both films. In “Shawshank,” the black man was the eyewitness to a white man’s tenacious resolve; in this instance, the black man serves as a conduit for whites’ suffering, serving to atone for and pardon them. By the time he is asked to accept their apology for sending him to the electric chair, the narrative has done such a good job of preparing us that the key scenes play like drama rather than metaphor, which is a difficult feat to pull off.
The Green Mile Quiz
The story of the film is recounted in flashback as Paul, who is currently residing in a retirement home, recalls his youth. At one point, he says, “The math doesn’t quite work out,” and we learn why. It takes at least an hour to establish the relationships in the prison, where Paul’s lieutenant (David Morse) is rock-solid and dependable, the warden (James Cromwell) is upright and fair, and the prisoners include a chubby coot named Delacroix (Michael Jeter) and a taunting monster named Wharton. The story is not in a rush to get to the sensational and supernatural. (Sam Rockwell).
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The presence of John Coffey (Michael Clarke Duncan), a man whose own attorney claims he appears to have “dropped out of the sky,” hangs over everything. Coffey can’t read or write, comes across as simpleminded, gets along with everyone, and radiates kindness. Paul seeks legal advice because he begins to question whether the prisoner could have killed the young sisters. However, Coffey was discovered carrying their shattered corpses in his enormous arms. A black man with such proof against him in Louisiana in the 1930s is not likely to be found innocent by a jury. (We might indeed question whether a Louisiana Death Row in the 1930s would be so fair and hospitable to a convicted child molester, but the story carries its own conviction, and we go along with it.) The movie contains several scenes with strong emotional content. Some of them deal with the gory specifics of the execution chamber and the procedure the state uses to ensure that a condemned man actually perishes. (Harry Dean Stanton has an amusing cameo as a stand-in at a dress rehearsal with the electric chair). Despite the film’s generally benevolent tone, one execution is especially graphic and is shown in some detail; this is where the R rating is justified. A tame mouse that Delacroix adopts, a physical altercation with Wharton (and his obscene efforts at rabble-rousing), and a subplot involving Paul’s (Bonnie Hunt) and the warden’s spouses are other noteworthy moments. (Patricia Clarkson).
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However, the connection between Paul and his enormous prisoner Coffey serves as the film’s focal point. I can describe in Coffey’s own words what he does with the suffering he encounters without describing the supernatural mechanism at play: “I just took it back, is all.” This sets up the movie’s ending, in which we are informed of another execution that took place about 2,000 years ago.
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I’ve begun to think that when we debate “good acting” in movies, we are really talking about two other things: strong character development and effective casting. A large portion of a performance is produced during the actual filming process, in the photography, editing, and musical cues. But in order to convincingly embody and evoke a character, an actor must have the technical and emotional mastery, and the movie must offer him a role worth playing. Tom Hanks plays the role of Paul in the movie, and he succeeds in making us feel sorry for him thanks to his level eyes and subdued speech. The effectiveness of his team, the evil natures of Percy and Wharton, and the goodness of Coffey—who is personified by Duncan in a portrayal that is both acting and being—are all vividly brought to life for us.
The duration of the film is just over three hours. I valued the additional time because it allowed us to experience the months and years of incarceration as they passed. The power of Dickens, who created worlds that engulfed us and filled them with vivid, odd, sharply observed characters, can be found in some of Stephen King’s best books, despite the author sometimes being dismissed as little more than a best-seller. Despite the sneers of the literary elite, King is a storyteller who, in his best work, has a good chance of surviving like Dickens.
King’s “The Green Mile” is now a tale that develops and unfolds, has detail, and space thanks to Darabont’s additional time. At two hours, the film would have been significantly shortened and would have merely been a collection of isolated scenes. It tells a story with a beginning, middle, and end, vivid characters, humor, anger, and emotional release under Darabont’s direction. Dickensian.
For more personality quizzes check this: One Flew Over The Cuckoos Nest Quiz.
