Tom Booker - Robert Redford
Annie MacLean - Kristin Scott-Thomas
Grace MacLean - Scarlett Johannson
Robert MacLean - Sam Neill
Frank Booker - Chris Cooper
Diane Booker - Dianne Wiest

Based on the popular novel by Nicholas Evans, the story is simple. A young girl suffers a tragic horsing accident causing physical and mental damage. The exasperated parents finally turn to a Montana rancher who seems to have a power for "helping horses with people problems. This character, by the way, is based upon a real person, who appears in the movie, but I believe this actual story is fictional

You cannot help but be captivated by parts of this movie. There are moments that are truly breathtaking. Confrontations and discussions between characters that carry so much emotional power, soul-baring honesty and brutal reality that you cannot help but feel down to the depths of your very being. It contains stunning visuals, and amazing cinematography which truly capture the soul and spirit of the Montana countryside.

Conversely, there are moments of tedious monotony, that will try even the most patient moviegoer, and romantic. I could’ve done without the romance aspect of it, from the perspective of all the "required" cutesy scenes. It is a slow, methodical romance, that anyone with a 7^th grade social IQ could see simmering.  It was dwelled on too long, and too much and caused the lag in the story. The romance seems to be done for the benefit of the mother’s healing, but I feel that by focusing more on the problems, rather than the solution, that more could’ve been resolved.  It would've had more of an effect and a more powerful (and definitely shorter) message. I have not read the book this is based upon, but having talked to those who have, they have stated that the movie plays up the romance more than the book does. A suggestion, stay true to the author’s vision and tone, because it seems to have worked. Mr. Redford is a great director, and whether its the fault of he, or screenwriter Richard LaGravenese (Bridges of Madison County), I don’t know, but someone, somewhere, decided that it was necessary to soften, and lovey-dovey up the book. They should’ve left it alone and let it stand on its own merit. They also should have kept the focus of story on the healing, of the daughter, of the relationships between the characters, and of the horse.

I understand why Redford was so methodical in making the movie as he did. He wanted these characters to be a part of you, wanted you to sympathize with them, feel their pain, and revel in their joy upon the curing of their problems. But for me, the strength of the performances and depth of characters had already established that. I felt the pain of the young girls accident, even as she relives it every day. I felt the tension between mother and daughter, as they both strive to hang on. One to everything she has, the other to everything she wants. The most powerful scenes come between the mother, and daughter, and the daughter and the healer. But there is such an incredible power running through this movie, that it is impossible not to be captivated at times.

More than any other actor working today, Robert Redford truly looks comfortable and natural on the screen. Here, he looks as at home in a cowboy hat, as he did in a three-piece suit in Indecent Proposal, and robbing banks in Butch Cassidy and The Sundance Kid. He strides around with a natural ease and seems to fall right into this role. Thomas and Neill are effective as the girls parents, Thomas’s performance is a bit more intense, but that’s only because of the way her character is written. Neill’s character is a bit more understated, but effective for what he’s given. There are strong supporting performances from Dianne Wiest and Chris Cooper as Redford’s brother and sister in-law. But the best performance in the picture comes from one of its youngest stars. After seeing the Oscar nominations, I noticed the lack of young talent, or maybe just the prevalence of the old school, amongst the nominees. Edward Norton’s nomination for American History X was the only influx of new blood, in a year that was filled with so many more deserving performances. The emotional power exhibited by 14 year-old Scarlett Johannson in this movie is definitely one that deserved more than the passing notice it has garnered. This is a role that could’ve easily been overacted, or overdone, by a lesser actress. But here, Johannson seems to put her heart and soul into every aspect of this character. She lets you feel joy, when she does and pulls at your heart, when she hurts. Mostly though, she enraptures you in every aspect of her being. In a movie filled with great dramatic actors, Johannson’s star shines brightest of all.