‘Green and Gold’ Review: Aggressively Uplifting Sentimental Drama About a Farmer Desperate to Save His Land

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Craig T. Nelson is a highly skilled actor who often doesn’t receive the recognition he deserves, and it’s hard not to be somewhat moved by his courageous lead role in “Green and Gold.” In Anders Lindwall’s heavy-handed and unsurprising drama, he portrays Buck, a financially struggling Wisconsin dairy farmer who is too stubborn and steeped in tradition to adapt, eventually reaching such desperation that he risks everything, including his farm, to save it. To put it simply, Nelson brings more depth and substance to this overused indie film than it offers in return.

Hank isn’t everyone’s cup of tea, and neither Nelson nor Lindwall seem keen on making him more appealing than necessary. With a perpetual stoic grimace and a rugged appearance, Hank is a common man who cherishes Margaret (Annabel Armour), his long-term patient wife, and Jenny (Madison Lawlor), his musically gifted granddaughter, almost as much as he adores the Green Bay Packers. However, this doesn’t mean he’s open to their suggestions or anyone else’s when it comes to modernizing his outdated tools – he seems to enjoy using an old-fashioned plow over a tractor instead. And he’s not particularly eager to change much about his lifestyle and work either.

In simpler terms, Hank is hard to like, but neither Nelson nor Lindwall care much for making him more likable. He’s a down-to-earth guy who loves his wife Margaret, granddaughter Jenny, and the Green Bay Packers almost equally. But he doesn’t want advice on updating his old equipment or changing anything else about his life. Instead, he seems to prefer using an old plow over a tractor.

Regrettably, Hank’s rigid adherence to the old ways has left him in a financially dire situation, with mounting losses resembling a vast ocean of red ink. On the brink of losing his farm due to an unyielding banker who critically notes that Hank operates his farm as if it were still the 1800s, despite the story taking place in the mid-90s. Yet, Hank remains determined and presses Jenny to hold off, or even abandon, her aspirations of leaving rural life behind for a career in music. It’s no wonder that Hank consistently dissuades Jenny from pursuing these dreams.

Hank’s persistent refusal to adapt has led him into deep financial trouble, with his losses piling up like an expanding ocean of red ink. His farm is at risk of being taken by a cold-hearted banker who points out, with justification, that Hank farms as if it were still the 1800s, even though the story occurs in the mid-90s. However, Hank stands firm and encourages Jenny to defer, or possibly abandon, her ambitions of swapping rural life for a career as a successful singer-songwriter. It’s no surprise that Hank does everything he can to dampen these aspirations.

In Green and Gold, very few events can truly be considered shocking, given they often adhere to the principle known as Chekhov’s Gun. Following this pattern, Lindwall, working from a script he co-wrote with Steven Shafer, Michael Graf, and Missy Mareau Garcia, seems to follow what might be termed the Law of Chekhov’s Ladder. This law is when an item is introduced or highlighted so prominently that it feels inevitable that someone will eventually meet with misfortune while interacting with it.

Later on, we see Jenny’s transformation in allegiance (and shift in priorities), as she initially stands firm in her resolution to achieve her goals during the movie’s initial stages, driven by her desire to conquer her reservations and seek guidance from Billy, a renowned musician residing at a neighboring farm, who is there to draw inspiration from nature while crafting his next hit album.

Sklenar subtly creates uncertainty about Billy’s true feelings towards Jenny by suggesting a mix of admiration for her talent and attraction to her. By the end, it seems their relationship serves primarily to highlight Jenny’s striking resemblance to her grandfather in terms of determination, as both are shown to be stubborn and unyielding.

Green and Gold” combines elements of typical Hallmark movies with the earnest, heartland dramas popular at film festivals decades ago. A touch of suspense is added through Hank’s gamble with the banker; if the Green Bay Packers win the Super Bowl, foreclosure on his farm will be postponed interest-free for a year. The script avoids being overly simplistic in this aspect. Moreover, Lindwall and their team show keen observation and respectful portrayal of rural American life’s daily routines and attitudes.

However, as we reach the overly optimistic and heartwarming conclusion, reminiscent of a swift channel flip between the endings of “It’s a Wonderful Life” and “Field of Dreams,” the movie “Green and Gold” succumbs under the burden of its tired stereotypes and artificial plot devices. It’s hard not to imagine Hank grumbling disapprovingly, then flipping the channel instead.

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2025-01-31 23:16