Ben Affleck charmed American audiences as one-half of a pair of wunderkinds, but after a long string of films that showcased his static acting abilities, the whole Bennifer debacle and “Gigli,” Affleck wore out his welcome. While Affleck’s blockbuster acting career may be dead in the water, he finds new life behind the camera in “Gone Baby Gone.” Matt Damon’s sidekick crafts an intriguing and emotionally wrought mystery in this understated film.
Based on a novel by “Mystic River” scribe Dennis Lehane, “Gone Baby Gone” focuses on the morally complex world of child abduction. Set in Boston, a Doogie Howser-type private detective, Patrick Kenzie (Casey Affleck, “Ocean’s 13”), is hired to sift through the murkier parts of a tough Boston neighborhood during the search for a missing girl. Aided by his partner and girlfriend, Angie (Michelle Monaghan, “The Heartbreak Kid”), he navigates a world of drugs, corrupt police and twisted morals. What begins as a straightforward procedure slowly morphs into an unexpectedly ambiguous mystery, with no clear-cut answer.
As a native of Boston and a new father, Ben Affleck conveys a strong understanding of Bean Town and the central issues at hand. His directorial debut conveys an assured steadiness and confidence. Still, Affleck’s filmmaking is far from perfect. He often relies on emulating Clint Eastwood’s “Mystic River” in look and feel, which is not a bad thing, but it inhibits Affleck’s own abilities, even if his own instincts sometimes rely on cliched shots of fireworks and silhouettes.
Affleck’s screenplay, which he cowrote with Aaron Stockard, is where his skills truly shine. Both are able to juggle a multitude of tones, ranging from sheer terror to much-needed comic relief, all while constructing a cohesive whole. On top of that, the writers make all the twists and turns plausible without being expected. All the clues are planted in plain sight, but the audience is unaware they are clues; they are simply logical actions of characters. The script also provides some great fodder for discussion. “Baby” paints a portrait of the emotional toll abduction takes on people. Also, Affleck and Stockard delve into the role of media and how fickle the news is with newsworthy children. In one heartbreaking scene, after a brief story on the devastating end of an investigation, the news quickly switches over to a sports recap.
All the great developments that Affleck and Stockard’s screenplay bring are perfectly underscored by a supporting cast consisting of veterans and relative newcomers alike. From Amy Madigan as the grief-stricken aunt to Amy Ryan as the drug-addled mother of the missing child, all allow for the show to flourish, even with the stars off screen.. The casting of Ben’s brother, Casey, might seem to be nothing more than nepotism, but Casey’s nervous tics make him the right fit for the young P.I. The younger Affleck brings a much-needed naivete and inquisitiveness to the character.
Affleck, with the help of a powerful cast, holds down a smart script with confidence, constructing a painfully true movie from the first reel all the way to the devastating end.
