"Character-driven drama" is a glib Hollywood description, but it's also a rare commodity. Typically, you find considered, finely drawn characters in films that don't originate from the major studios -- attention to detail and a willingness for idiosyncrasy exists largely in the realm of independent film. It's hard to imagine a film like, say, Old Joy making it alive out of the studio system with all of its charm intact.

It might seem like a bit of a leap to reach from Kelly Reichardt's intimate character study to Francis Ford Coppola's star-studded adaptation of mega-selling author John Grisham's The Rainmaker but in truth it's not. The Rainmaker, released near the beginning of Coppola's end as an active filmmaking presence, is the sort of methodical, yet briskly paced, character drama you don't see much of at the multiplex anymore. There are still character-driven flicks around (Waitress and Away From Her, for example) but The Rainmaker blends legal intrigue with genuine emotion and richly drawn characters, resulting in one of Coppola's more engrossing efforts.

Matt Damon, in one of his earliest roles, stars as Rudy Baylor, a recent law school grad eager to make a difference and leave his mark. His enthusiasm lands him in the less-than-kosher Tennessee law firm of one Bruiser Stone (a wickedly funny Mickey Rourke), surrounded by lawyers all too familiar with the concept of "ambulance chasing." In short order, Rudy finds himself enmeshed in an epic legal battle with a daunting foe: a deep-pocketed insurance company, personified by its smooth, vicious attorney Leo F. Drummond (Jon Voight). With help from the resourceful Deck Shifflet (Danny DeVito) in the arena of law, Rudy also juggles a tentative romance with Kelly Riker (Claire Danes), a young woman with a brutal secret. There are plenty of asides and slight detours, but none of them ever distract from the film's main thrust.

If nothing else, The Rainmaker is one of the most satisfying Grisham adaptations to date, armed with Coppola's lean, witty screenplay and masterful direction, a glossy cast and impeccable technical credentials (John Toll's cinematography and Elmer Bernstein's score). There's an ease and a charm to it -- you want it to keep going even as it begins to wind down. It's poignant without being maudlin, uplifting without being sentimental. Coppola took some heat, at the time, for essentially playing the role of director-for-hire, but the film doesn't bespeak some bored hack going through the motions. Rather, you feel as though Coppola truly connected with this story, felt obligated to do it justice and delivered a fine piece of mainstream entertainment. It's certainly worthy of less derision than, say, Jack.

The Rainmaker was one of the first DVDs to hit shelves, way back in 1998; it did not, however, boast much in the way of bonus content. This latest version corrects that lack, delivering plenty of worthwhile material (see below).

The Video:

Beautifully photographed by veteran lensman John Toll, John Grisham's The Rainmaker looks crisp and clean in this 2.35:1 anamorphic widescreen transfer. Black levels are solid throughout and the colors remain vivid; not having the 1998 disc handy for comparison, I can't say whether Paramount recycled this transfer or struck a new one for this edition. Nevertheless, it's a sharp-looking visual representation.

With Elmer Bernstein's insistent, jazzy score pulsing beneath the scenes of thick dialogue, the Dolby Digital 5.1 track has its work cut out for it -- fortunately, it's up to the task. Dialogue is heard clearly and free from any noticeable drop-out or distortion; the surrounds provide nice ambient support and overall, The Rainmaker sounds as good as it looks. An optional French Dolby Digital 5.1 track is on hand, as are optional English, Spanish and Portuguese subtitles.

I'm unsure what brought on Coppola's intense interest in contributing commentary tracks at such a rapid clip -- most of his films (and their accompanying special edition DVDs) have been master classes in cinema, so it's delightful that the filmmaker is opening himself up with such regularity. The supplements here, as with most Coppola special editions, are expertly produced by longtime Coppola associate Kim Aubry. A four minute, 20 second introduction, filmed during the post-production on Coppola's next film Youth Without Youth, gives way to the commentary track that features Danny DeVito spliced in among Coppola's thoughts on this decade-old film. It's a warm, engaging track that is essential for fans of the film. The 27 minute, four second featurette "Francis Coppola Directs John Grisham's The Rainmaker" goes behind the scenes, while a quartet of deleted scenes (playable separately for an aggregate of around 22 minutes) and a quartet of screen tests for Matt Damon, Claire Danes, Mary Kay Place and Virginia Madsen completes the disc.

If nothing else, The Rainmaker is one of the most satisfying Grisham adaptations to date, armed with Coppola's lean, witty screenplay and masterful direction, a glossy cast and impeccable technical credentials (John Toll's cinematography and Elmer Bernstein's score). There's an ease and a charm to it -- you want it to keep going even as it begins to wind down. It's poignant without being maudlin, uplifting without being sentimental. Coppola took some heat, at the time, for essentially playing the role of director-for-hire, but the film doesn't bespeak some bored hack going through the motions. Rather, you feel as though Coppola truly connected with this story, felt obligated to do it justice and delivered a fine piece of mainstream entertainment. It's certainly worthy of less derision than, say, Jack. Highly recommended.