This is a great, great film. Robert Duvall richly deserved the Oscar he won for Best Actor, and Bruce Beresford's direction is quirky but consistently entertaining.
The most wonderful aspect of this movie is how the screenwriter (Horton Foote) doesn't let the characters engage in all the obvious, "Hollywood" histrionics that the plot would allow them to do. For example: when Mack (Duvall) finally meets his long-lost daughter late in the film, he doesn't run to her and embrace her with tears staining his face while music swells beneath the scene, as a hack director would have him do. Instead, he looks at his shoes, makes small talk, and acts embarrassed. Why? Because, consistently throughout the film, he doesn't believe he deserves the good things that come his way.
This is the tale of a man who, in the absolute pit of despair and hopelessness, is saved by the love of a good woman and the love of God. You need to see it.
The most wonderful aspect of this movie is how the screenwriter (Horton Foote) doesn't let the characters engage in all the obvious, "Hollywood" histrionics that the plot would allow them to do. For example: when Mack (Duvall) finally meets his long-lost daughter late in the film, he doesn't run to her and embrace her with tears staining his face while music swells beneath the scene, as a hack director would have him do. Instead, he looks at his shoes, makes small talk, and acts embarrassed. Why? Because, consistently throughout the film, he doesn't believe he deserves the good things that come his way.
This is the tale of a man who, in the absolute pit of despair and hopelessness, is saved by the love of a good woman and the love of God. You need to see it.