Despite being as depressing as Clint Eastwood’s Mystic River (2003), the complex plot lines, realistic acting, and excellent aesthetics make the director’s new movie, The Changeling, an impressive work.
Based upon records rescued from Los Angeles archives, The Changeling establishes its central theme of truth with a simple opening. Christine Collins (Angelina Jolie), a single mother, returns home from work one day to find her son Walter (Gattlin Griffith) missing. After a five month investigation, the police find a boy claiming to be her son and bring him to L.A. Christine knows it is not her son, despite the resemblance, though the police refuse to hear her protestations. She fights for them to keep up the search for Walter, though they continue to ignore her and even send her to a psychiatric hospital. Eastwood skillfully creates a true crime mystery, full of surprising plot twists. He artfully builds suspense and creates a delightfully unpredictable narrative.
Strong acting provides the vitality for this dark film. Jolie brings conviction to her role as a mother (her six children probably help). Her frequent outbursts of emotion do not appear exaggerated, but rather show disparate emotions, from anger and sadness to desperation and frustration. Peaceful moments, in contrast, hold equally great tension and power.
John Malkovich plays a Presbyterian minister, Gustav, who supports Christine in her quest for justice. Rather than casting a stereotypical hero actor, Eastwood’s choice of Malkovich is thoughtful, taking into account the actor’s portrayal of dark characters throughout his career.
The film’s colors, its most notable and powerful aesthetic feature, are almost black and white, emphasizing the tragic story. The movie is shot mostly in blues, whites, greys, and browns, but features the occasional contrast of richness-like Jolie’s perpetual bright red lipstick-which further dulls the rest of the colors.
Eastwood’s cinematography complements these aesthetics to create a true piece of artwork in every frame. His focus on hands often captures small details like a handclasp, a touch, a burnt out cigarette, showing volumes of emotion without a face.
Eastwood’s use of music (solo piano, saxophone, and string ballads) and sharp sound effects further highlight the action and impact of the story.
The film runs nearly two and a half hours and could have used more editing. Like many overachieving directors, including Martin Scorcese, Eastwood tries at times to develop too many storylines and details. Although the story never lags, it can get repetitive, and provides little to uplift the audience, leaving the viewer feeling emotionally drained by the closing credits.
Even in black and white, those lips look like they’re gonna eat me. (Courtesy IMDB.COM)
Eastwood produces a faithful representation of this tragic and moving true story, creating a stimulating film for the intelligent moviegoer, and will deservedly attract Oscar attention. Less than uplifting, The Changeling all the same leaves those seeking a thought-provoking movie more than satisfied.
