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Mystic River Reviewed By Erik Childress Posted 10/08/03 15:01:25

"Eastwood's Modern 'Unforgiven'" (Awesome)

Mystic River is simply put, one of those mesmerizing pieces of storytelling that you just sit back in your chair and allow to absorb you. You can’t help it. This is a movie on its own terms with no time to be searching for flaws. Its characters are strong (and weak) and the faces populating them are in tune with every moment, never grandstanding for the camera. And behind it all you have Clint Eastwood, the conductor of a smooth jazz-like orchestration that proves indefinitely that great storytelling is indeed an artform.As boys, Jimmy, Sean and Dave were a tight bunch playing hockey on the streets of Boston and wanting to carve their names into fresh cement so it would remain forever. This more-than-innocent bit of vandalism raises the ire of a passing car and soon, young Dave is thrust into a nightmare that will haunt him for the remainder of his days.25 years pass and the boys have gone their separate ways. Jimmy (Sean Penn), the tough guy of the group now has a happy family and owns a local store. Sean (Kevin Bacon) has become a cop and Dave (Tim Robbins), a shell of his former self, still lives in the neighborhood and dotes on his young son.Late one evening, Dave comes home covered in blood and slashed across his stomach. He says it was a mugger that he may have killed, but his wife Celeste (Marcia Gay Harden) becomes suspicious when a 19-year old girl turns up dead. Jimmy’s daughter.It’s a simple setup that takes its time to evolve over the first 40 minutes. In a more conventional tale, the material could be spun any which way to favor one plot or one character over another. But Eastwood and screenwriter Brian Helgeland (capable of both the brilliant L.A. Confidential and the dreadful The Order) do something masterful by providing an equal footing for each character all involved in their own strand of the same story. Jimmy must personally deal with the loss of his child through the process of neighborhood gatherings and funeral decisions. Sean and his partner Whitey (Laurence Fishburne) are trying to solve the murder, piecing together the evidence leading them to two suspects; one, the boyfriend of the victim and the other who must come to terms with his own past while looking in the eye of a wife who no longer trusts him.Mystic River doesn’t beat us into submission with a whole “what’s it all about?” mentality. Some stories just have an evolution of their own without pausing to oversymbolize what’s already right in front of us. Dave isn’t the only one forced to look inward at the timeline that brought him to this point. Sean has an estranged wife who won’t even talk to him nor reveal their daughter’s name and Jimmy has his own demons to confront after doing a stint in prison. The sins of the past rising to the forefront are as amiable as anything to provide a deeper consultation. Couple that with religious symbolism and the aptitude to become heavy-handed can sneak up just as easily as a well-told story.Eastwood never allows the little things to cloud up the big picture though. His canvas is so thoroughly devised that we only connect-the-dots up to a point and are then subjected to a palpable anger and sadness with how these three stories will eventually converge. Credit Eastwood, Helgeland, cinematographer Tom Stern and Editor Joel Cox for delivering one of the most nail-biting, foundation-shaking finales I’ve seen in recent time. Through it all, we’ve got a cast that will make any movie fan salivate and “six degrees of Kevin Bacon” players will send thank-you cards for. It’s hard to fathom Sean Penn and Tim Robbins not given serious award consideration for their respective work. Very few actors can match Penn for inner intensity. As Fishburne’s Whitey points out, he carries the weight of prison on his shoulders and the loss of his daughter in his stomach. We pray for justice and that Jimmy will have the foresight to do the right thing when judgment day is upon him. Robbins knows just when to pull back on his portrayal of the scarred Dave. The tendency to overplay his balled-up outrage is tempting for any actor, but the hulking Robbins uses every muscle in his face to keep us on edge to what he is capable of. Is he a monster; or just a victim if he is?Bacon, one of our most underappreciated screen presences, is as solid as ever as Sean, who has no idea how to confront his emotions outside of the daily horror he sees as a detective. Much like Harden’s Celeste, who is now all nerves and no one to explain herself to. Even Laura Linney, who seems mostly left on the sidelines with her thick New England drawl, gets to deliver a final, penetrating monologue that may hit some of the same chords that Amanda Peet’s did last year in Changing Lanes.This is only the fourth film Eastwood has directed without himself to command the screen (Bird, Midnight in the Garden of Good and Evil and the all-but-forgotten 70s romance, Breezy, being the others) and it ranks up there with Unforgiven as a modern companion piece and the best, bar none, of his career. Both masterworks had powerful stories at their forefront that resonated into the waking moments of your trance for days after you left the theater. This is a virtuoso achievement from Eastwood and everyone involved with Mystic River whose final credits actually read “Music by Clint Eastwood”. If a more apropos coda could exist, I couldn’t think of one.
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