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And it doesn't hurt that she's surrounded by an immensely talented cast. McDormand reprises her Fargo accent and believably blue-collar ways. Sean Bean is excellent as her quietly supportive husband, Kyle. Richard Jenkins, who plays Josie's dad, gives a moving speech to his union meeting (though his character's change of heart is too quick and too strong). Woody Harrelson as a new divorcee trying to get up the nerve to ask a woman to dance is achingly awkward and real (though his motivations inexplicably shift throughout the rest of the film).

Josey gets ready to address members of her union

Some of these latter characters provide a needed contrast for all the male ugliness throughout the rest of the film. Thankfully, not all men in North Country are bad. Some are good, but too scared to make waves. Others are quietly full of integrity and truth. On the flip side, some of the women in the film aren't so great. The female attorney for the mine is underhanded and riddled with contradictions, and many of Josie's coworkers resent her speaking out. This isn't as much a film about men against women, as it is a film about the powerful exploiting the powerless—and standing up for what's right, even when you have to do so alone.

Though tough and heavy-handed at times, for the most part North Country is engaging—not one of those films about an important subject matter that you feel you should watch. But unfortunately, things break down toward the end of the film when all the action is in the courtroom. The court case bogs down in a tangential incident from the past, and we never quite know why the whole truth took so long to come out. Bill (Harrelson), Josie's attorney, is allowed an awful lot of latitude by the judge to editorialize and lean on witnesses, who fold too easily. In the final 20 minutes, the film switches gears from Norma Rae to Perry Mason. But the end, despite being a tad schmaltzy, is satisfying.

Talk About It

1. Describe the way Josie responds to the discrimination she faces. Have you ever been discriminated against because of your gender, race, religion, or some other reason? How did you respond? As Christians, how should we respond to discrimination, not just against ourselves, but against anyone?
   
   
2. What areas of discrimination still exist in your community, church, workplace, or family today? What can you do to make a positive difference? (For some ideas, click here.)
   
   
3. We see two very different marriages in North Country—between Glory and Kyle and between Alice and Hank. In what ways do they love and support each other in difficult times? In what ways to they confront one another when necessary, acting as "iron sharpening iron"?
   
   
4. Trace the ripple effects of past sins in this film. In what ways are the characters' current struggles a result of unresolved issues from the past? What similar "ripple effects" have you seen in your own life?
   
   
5. Before they go to trial, Josey's attorney, Bill, tells her, "Right has nothing to do with the real world. Even if you win, you don't always win." Do you agree or disagree with his statement?

The Family Corner

North Country is rated R for sequences involving sexual harassment including violence and dialogue, and for language. This isn't a family film. There's tough language, underage drinking, sexual innuendo, violence, a rape. The subject matters are tough, though for older mature teens and up, the film could be a good discussion starter about important issues.

Photos © Copyright Warner Bros. Pictures

© Camerin Courtney 2005, subject to licensing agreement with Christianity Today International. All rights reserved. Click for reprint information.

Amazing audiences yet again with her ability to transform her glamorous good looks into something bruised and grimy, Charlize Theron turns in a rave-winning performance in North Country.

Theron, who won an Oscar for Monster, plays Josey Aimes, a woman taking on a Minnesota mining company in a landmark sex-discrimination case. Loosely based on true events, the film was written by Michael Seitzman and directed by Niki Caro, who also directed Whale Rider.

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