The term “modern tragedy” is generally associated with literature and theatre. However, director Clint Eastwood’s latest mystery-drama, “Mystic River,” is the perfect cinematic equivalent. You wouldn’t expect this type of movie to be in wide release, considering the heavy and depressing material, but fortunately it is. “Mystic River” is quite an achievement featuring a penetrating, character-driven script, an extraordinary cast in top-form and atmospheric cinematography.
The story opens in the East Buckingham neighborhood of Boston, Mass., where an event takes place that will forever alter the lives of childhood friends Jimmy, Sean and Dave.
The story reconvenes in the same neighborhood twenty-five years later. Jimmy Markum (Sean Penn, “I Am Sam”), an ex-con, is married to his second wife, Annabeth (Laura Linney, “You Can Count on Me”) and now runs a small convenience store. Sean Devine (Kevin Bacon, “Trapped”) is now a police detective whose wife has left him and taken their baby with her. Dave Boyle (Tim Robbins, “The Shawshank Redemption”), who was abducted as a child and molested by two pedophiles, is a psychologically tormented man married to Celeste (Marcia Gay Harden, “Pollock”), and the father of one son.
The men have since parted ways but are brought together once more by the devastating murder of Jimmy’s eldest daughter Katie. An enraged Jimmy secretly swears vengeance and asks several of his criminally-inclined friends to find Katie’s killer. Sean Devine and his partner, Whitey Powers (Laurence Fishburne, “The Matrix”) are brought in to investigate the crime and hopefully find the killer before Jimmy’s thugs do. It just so happens Dave was one of the last people to see Katie before she was murdered and he returned home very late that night with blood on his hands.
This sounds like a typical mystery plot, but what unfolds is much less conventional than what one would expect. The mystery aspect of the plot is somewhat pushed aside, as it is little more than a catalyst for the real focus of the movie, the characters.
Eastwood is very interested in his characters, as witnessed in several of his previous directorial efforts such as “Midnight in the Garden of Good and Evil,” “Unforgiven” and “A Perfect World.” Eastwood explores how his characters deal with and react to violence.
As a result, the film takes its time developing its characters and allowing the viewer to understand their emotions. The script, adapted by Brian Helgeland from Dennis Lehane’s novel, firmly plants the viewer inside the minds of the three central characters, who as a result feel very real.
The reality of the characters is also due in part to incredible performances by an all-star cast. No one is wasted here — all are given plenty of material. Sean Penn and Tim Robbins in particular are fantastic. Penn’s performance here is on par with his work in “Dead Man Walking,” and Robbins has never been better. It is worth noting, however, that it’s hard to envision Laurence Fishburne as anyone but Morpheus.
Along with the acting, cinematography also plays an important part in “Mystic River,” beautifully capturing the mood of the story. The darkness and gloom of the film is realized by removing a lot of light. There is rarely, if ever, any sunshine and the photography saturates blues and blacks, eliminating any sense of cheerfulness. Characters speak in dark rooms and their faces are constantly in shadow, as if they are concealing something.
The only semi-negative aspect of the movie is the dramatic score, which could have been toned down a bit. While at times effective, it is too often evocative of melodrama, something this film skillfully but narrowly avoids. But in the greater scheme of things, this aspect is of minor concern.
It would not be surprising if Eastwood’s latest picture receives some Oscar nominations, not the least of which could be Best Picture. “Mystic River” is an exemplary cinematic modern tragedy.
Grade: A
