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"We Are All
Boot-Makers to Kings..." |
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Directed by Robert De
Niro - Written by Eric
Roth
Starring Matt Damon,
Angelina Jolie, Robert
De Niro, John Turturro,
William Hurt
Alec Baldwin, Billy
Crudup, Michael Gambon,
Gabriel Macht
Tammy Blanchard,
Vladimir Mashkov, Joe
Pesci
Distributed by Universal -
2006 - 165m - Rated PG13 |
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"The mental facility to detect conspiracies and betrayal are the same
qualities most likely to corrode natural judgment." |
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Almost every year,
there is one great film that slips under my radar. I usually wait
for it to hit DVD because it keeps getting passed over for other
films I'd rather watch. However, when I finally get around to seeing
it, I wonder to myself how I ever let it pass me by.
In 2006, that film is Robert De Niro's "The Good Shepherd". Here is
a cinematic gem that hits all the right notes. It is a study in
detail. It is a master-class in mood and tone and style. This movie
is a fascinating character study and a riveting story of trust,
loyalty and betrayal -- both personally and politically.
Edward Wilson (Matt Damon) is a gifted young man whose keen
intellect and sharp observational skills soon catch the attentions
of some important people. While attending Yale University, Edward is
recruited into the uber-secretive college society known as the Skull
and Bones. During the initiation ritual, he is asked to recount a
secret that he has never before revealed -- a pledge of trust and
brotherhood. He describes his father's suicide as a result of being
a disgraced naval officer.
The FBI becomes aware of Edward's abilities. His encounter with a
poetry professor only serves to expedite his venture into the world
of espionage.
Edward's ties to that secretive community cost him his first love,
Laura, a beautiful young deaf girl with a heart of gold and a pure
spirit. Instead, a relationship seems forced upon him with Clover
(Angelina Jolie), sister to one of his fraternity colleagues. An
unplanned pregnancy rushes along the marriage plans. It becomes a
loveless relationship between strangers.
The film follows Edward's life, shifting between the 1940's and the
1960's, counterbalancing the eager early loyalty with the paranoid,
lonely and resentful man he becomes later in life. "The Good
Shepherd" is a finite analysis of a man who knows what the important
things in life are (family, love, friendship, parenting), but
substitutes them for patriotism and duty -- perhaps as a way of
restoring his father's honor.
What De Niro does so well is to patiently, rather microscopically,
dissect Edward's life in the world of intelligence. Every detail of
this man's soul is laid bare for us to see. It allows the viewer to
respect and pity him at the same time. It is probably the greatest
cinematic exploration of espionage ever made. We are privy to this
character's very core.
Consider the multiple virtuoso sequences in which the CIA lab
technicians systematically analyze a fuzzy black & white photograph
in conjunction with a low grade audio tape. It is a fascinating
study in detail that serves as a microcosm to the entire movie. De
Niro's legendary attention to the details of his portrayed
characters has quite obviously transferred to his directing.
Everything of value in "The Good Shepherd" lays in the subtle
moments... the momentary glances... the uncomfortable silences...
the verbal hints and clues.
Also note the fabulous exchange in a covert London
counter-intelligence office between Matt Damon and John Turturro. It
is a fantastic exercise in screenwriting, rapid rhythmic delivery
and understated, yet mesmerizing, acting. It was wonderful to watch
the "Rounders" duo reunite and square off with some great dialogue
once again.
This may be De Niro's epic creation, but in terms of acting, this is
Matt Damon's film. What he achieves here is nothing short of...
well, nothing short of De Niro at his very best. Damon picks the
bones of his character clean. It is a performance that establishes
him as one of the greats of a generation. None of his contemporary
peers can carry the face of solemnity and gravitas quite as
powerfully as he. This role is Damon's "Raging Bull"... albeit a
quiet rage. This is the best performance of 2006... from either sex.
There are many fine supporting roles on display. Most noteworthy are
the turns by Alec Baldwin as the all-knowing FBI agent, Tammy
Blanchard as Edward's regrettably lost first love, and Michael
Gambon as the wise professor who has been in the game too long. It
was also a welcome sight to see Joe Pesci in a feature film for the
first time in a long while. The entire cast is first rate -- an
obvious sign that De Niro knows how to cast a film with actors as
precise as he.
This film truly captures how lonely it must be to work in the
intelligence community, especially at that time. Half way through
the film, Edward receives the news that his first son has been born.
The resulting phone call to his wife is interrupted by air-raid
sirens and horrible static. His wife asks if he is busy saving the
world. He replies, "Sometimes. What color are his eyes?" When the
line is cut off before she answers, we empathize with Edward's
decision to sacrifice his own happiness for the good of his
ungrateful government.
When Edward unexpectedly runs into Laura, some years after their
college romance, she confesses that she often wonders what life
would have been like had they stayed together. It is a poignant
scene, filled with regrets of what might have been.
I watched two other films in the past week that were within touching
distance of greatness. "The Painted Veil" and "Goya's Ghosts" were
both in need of a little more patience -- maybe they were afraid to
go much beyond the two hour mark for fear of being commercially
unviable. At two hours and forty-five minutes, "The Good Shepherd"
goes the extra mile, resulting in a complete filmgoing experience.
Quite frankly, it is an unassailable masterpiece. |
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© Written by TC Candler -
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