American Sniper (2014)
It was hardly surprising that the movie adaptation of Chris Kyle's autobiography American Sniper, would cause controversy. The Iraq war, US Foreign Policy and national pride are seldom subjects that are discussed in a calm and measured fashion. And then there are the personal politics of director Clint Eastwood to consider. Hence there were claims from some quarters upon the movie’s release, that it was Islamophobic and counter claims that criticisms of the late Chris Kyle were unpatriotic. There still remain issues regarding the authenticity of events depicted in the source text and subsequently the movies screenplay by Jason Hall. Yet none of these factors have in anyway impacted upon the film's box office returns which currently stands at $247,900,417 worldwide.
It was hardly surprising that the movie adaptation of Chris Kyle's autobiography American Sniper, would cause controversy. The Iraq war, US Foreign Policy and national pride are seldom subjects that are discussed in a calm and measured fashion. And then there are the personal politics of director Clint Eastwood to consider. Hence there were claims from some quarters upon the movie’s release, that it was Islamophobic and counter claims that criticisms of the late Chris Kyle were unpatriotic. There still remain issues regarding the authenticity of events depicted in the source text and subsequently the movies screenplay by Jason Hall. Yet none of these factors have in anyway impacted upon the film's box office returns which currently stands at $247,900,417 worldwide.
American Sniper is directed by Clint Eastwood in his customary minimalist and no-nonsense fashion, allowing us to focus on the subject matter without any unnecessary embellishment. Tom Stern's cinematography is far from flamboyant and appropriately stark. The central performances by Bradley Cooper as Chris Kyle and Sienna Miller as his wife Taya Renae Kyle are both strong and clearly defined. Criticisms about a lack of depth and balance are misplaced as far as I'm concerned. If real people have strong views or convictions should that reality not be reflected in the script? Furthermore this is not a movie about the Iraq War itself and an exploration of the geo-political ramifications. It is simply a soldier’s story, told from his perspective. It is also a drama and not a documentary.
Eastwood has often explored within his movies the theme of violence and the impact it has upon all involved. In this instance he has chosen to focus upon one particular individual. Steven Spielberg, who was at one point associated with adapting this work, has indicated that he would have approached the subject differently. He intended to explore the curious duality between Chris Kyle and "Mustafa", his Iraqi rival and ex-Olympic marksman. Eastwood takes a different path depicting the emotional toll four tours of duty has upon Kyle and his family. Contrary to some opinions there is no triumphalist tone to the proceedings, nor are the action sequences overblown spectacles. They are straight forward and functional, very much in accord with the director’s approach to film making. The Iraqi's that are depicted in the movie are combatants and are treated as such. Beyond that there is no overt agenda against Islam nor does the film adopt any major political stance. The characters on screen certainly have their own views but American Sniper simply depicts them, rather than endorses them.
There are some flaws in the narrative but they are mainly procedural, rather than ideological. I would have liked to have seen more of Kyles home life between tours, as well as some exploration of the controversies surrounding his book. As for the codicil at the movies end regarding the news coverage of his subsequent death and funeral, again I see this as just a reflection of events rather than a specific commentary upon them. Overall these criticisms do not undermine the movie nor detract from the strong performances. However due to the emotive nature of US politics and even the reputation of its director, perceptions and opinions may well possibly have been skewed regarding the movie’s merits and its perspective.
A notable aspect regarding American Sniper is its soundtrack or virtual lack of one. Beyond three credited pieces of music used at strategic points in the story the movie has no overall score. However many viewers have drawn attention to the montage of news footage regarding Chris Kyles funeral shown at the end of the film. It plays out to a track called "The Funeral", composed by the great Ennio Morricone. The piece is a subtle variation of Taps, a tune played at dusk by the US military. The cue called Il Funerale was first used in the spaghetti Western “Il Ritorno di Ringo” AKA The Return of Ringo in 1965. Like so much of the composer’s work, its inherent beauty lends itself to intelligent use in other movies, thus it greatly compliments the final scenes of American Sniper.
Changeling (2008)
Los Angeles, 1928. A single mother Christine Collins (Angelina Jolie) returns from work to find her nine-year-old son gone. She calls the LAPD who initiate a search. Reverend Gustav Briegleb (John Malkovitch) champions Mrs Collins cause and publicly criticises the LAPD for its endemic corruption and incompetence. Five months later, a boy is found in Illinois who fits the description of the missing boy, Walter. Captain J. J. Jones (Jeffrey Donovan), the head of the LAPD's Juvenile Division, hoping to capitalise on a successful resolution to the case, organises a press conference when reuniting the Mrs Collins with her son. However, Christine quickly denies that the boy is Walter, stating that this child is three inches shorter than her own son. The authorities dismiss her claims and label her hysterical. Matters are further compounded when Mrs Collins joins Reverend Gustav in his public criticism of the police. The establishment subsequently closes ranks and attempts to intimidate and silence her.
Los Angeles, 1928. A single mother Christine Collins (Angelina Jolie) returns from work to find her nine-year-old son gone. She calls the LAPD who initiate a search. Reverend Gustav Briegleb (John Malkovitch) champions Mrs Collins cause and publicly criticises the LAPD for its endemic corruption and incompetence. Five months later, a boy is found in Illinois who fits the description of the missing boy, Walter. Captain J. J. Jones (Jeffrey Donovan), the head of the LAPD's Juvenile Division, hoping to capitalise on a successful resolution to the case, organises a press conference when reuniting the Mrs Collins with her son. However, Christine quickly denies that the boy is Walter, stating that this child is three inches shorter than her own son. The authorities dismiss her claims and label her hysterical. Matters are further compounded when Mrs Collins joins Reverend Gustav in his public criticism of the police. The establishment subsequently closes ranks and attempts to intimidate and silence her.
Clint Eastwood's Changeling is a finely crafted, no-nonsense, concise telling of an extraordinary true story. This is hardly surprising when you consider Mr. Eastwood's career and the cinematic greats he learnt his trade from. The influences of the likes of Don Siegal are often evident in his work. In the hands of a lesser director, it would have been so easy for the more sensational aspects of the plot to have turned Changeling into a melodrama. Yet Eastwood’s minimalistic style actually creates a sense of docu-drama and certainly allows for a greater focus upon honest and credible performances from all concerned. The production design by James J. Murakami and minimal use of digital effects does well in capturing the aesthetic of the period and there is a strong sense of atmosphere. Yet these embellish the film and do not get in the way of the story telling.
Angelina Jolie excels in her role as Christine Collins and her performance really should have garnered greater attention at the time. The cast of character actors including John Malkovitch, Michael Kelly and Colm Feore all acquit themselves well. The screenplay by J. Michael Straczynski is focused and credible. It accurately portrays a Mother’s desperation to find her child as well as her shock when the very authorities she trusts to help, turn upon her. It is also interesting to note that the tangential story of the Northcott Murder’s is kept in the background and is not a key focus of the film. This is very much the story of Christine Collins and how she fell victim to a corrupt system, as opposed to an exploration of a “sensational and lurid” child murder case. Eastwood does well in keeping the story within very clear parameters and not casting his net too wide.
Changeling takes an interesting stance with regard to capital punishment and contains a rather clinical depiction of a hanging. Whatever your own personal views on the death penalty, this scene is very powerful and is certainly food for thought. Clint Eastwood has once again proven that he is a director of note and that he has a strong grasp of what constitutes a good story. He has crafted a film that maintains intellectual integrity and doesn't concede to melodrama, despite the “based on real events” moniker that prefixes the film. This is lean, well written, well-acted and focused film making and it not only provides a solid evenings entertainment, but a succinct example of how you make a quality drama.
The Mule (2018)
Clint Eastwood is 88 years old and has a successful career spanning over six decades. During that time he has proved to be one of America’s most bankable box office stars and established himself as an actor and director of note among his peers. If The Mule turns out to be his swansong, then it is certainly a fitting end to a prestigious career. Because in many respects The Mule is a distillation of many of the themes and concepts, we’ve seen in previous Eastwood movies such as Gran Torino and The Unforgiven. Perhaps the core story of an ageing man trying to reconcile himself to a modern world and make peace with it, is in some way Eastwood commenting on the movie industry himself. It is very much his film and his performance underpins the proceedings.
Clint Eastwood is 88 years old and has a successful career spanning over six decades. During that time he has proved to be one of America’s most bankable box office stars and established himself as an actor and director of note among his peers. If The Mule turns out to be his swansong, then it is certainly a fitting end to a prestigious career. Because in many respects The Mule is a distillation of many of the themes and concepts, we’ve seen in previous Eastwood movies such as Gran Torino and The Unforgiven. Perhaps the core story of an ageing man trying to reconcile himself to a modern world and make peace with it, is in some way Eastwood commenting on the movie industry himself. It is very much his film and his performance underpins the proceedings.
Earl Stone (Clint Eastwood) is a dedicated horticulturalist who has spent his life putting work before his family. While competing in a flower show he misses his daughter’s wedding which further strains family ties. However online sales soon take a toll on his cottage industry and Earl finds himself in danger of the bank foreclosing on his house. “The internet has ruined everything” he grumbles. Only his granddaughter Ginny (Taissa Farmiga) has any time for him. After a row with his ex-wife Mary (Dianne Weist) at a family function, Early is approached by one of the guests who suggests that he can get paid for “just driving”. His spotless record, along with his age and ethnicity, make him potentially very useful to the local drug cartel. Caught between a rock and hard place Earl agrees to do just one job and becomes a drug mule.
The Mule is a leisurely movie and despite being set in the violent world of international drugs trafficking, is not steeped in action or mayhem. It is a character driven film in which Eastwood’s performance dominates. Earl is a microcosm of the ongoing societal age divide. He is polite, traditional and struggles with contemporary etiquette. In one scene he helps a stranded African American family whose car has a puncture and clumsily refers to them as “negros”. It’s not something done out of malice and highlights how he’s just a product of his generation. Earl also builds a rapport with the minor foot soldiers of the cartel who he meats when collecting and dropping off his shipments. He asks after their families and discusses trivial everyday things, revealing that for these men are just doing “a job”, often in default of anything else.
Beyond Eastwood’s charismatic performance, some of the other plot elements of The Mule are somewhat perfunctory. The parallel story that sees DEA Agent Colin Bates (Bradley Cooper) tracking the cartel and slowly closing in on its mules is functional but nothing more. The brief scene that Cooper and Eastwood share in a diner where they unwittingly swap homespun philosophy, is a little contrived. Also the machinations of the drug cartel and its internal power struggle is also just a functional plot device. However, the narrative does pick up in the third act where Eastwood and Wiest share several scenes together and reflect upon their failed marriage. It flirts dangerously with excessive sentimentality but mercifully stays on the right side of the line, due to solid acting and an air of earnestness.
The Mule lends itself to comparison with Robert Redford’s recent movie, The Old Man & the Gun. The latter is the better of the two, having a more nuanced plot and allowing the cast to contribute more to the proceedings. But because of the viewing public’s esteem for Clint Eastwood, I’m sure they will overlook the short comings of The Mule. As for the moral lesson that Earl is a “late bloomer” who finally learns that he needs to devote as much time to his family as to his flowers, it is a lesson that we can all reflect upon in todays busy world. Overall, despite a slow pace and numerous narrative digressions along the way, The Mule is a very accessible movie with the usually dour and grouchy Eastwood showing a far more amiable side to his persona. If it were any other actor, this would be a distinctly average movie.