“THE GOOD SHEPHERD” (2006) Review

 

 

“THE GOOD SHEPHERD” (2006) Review

As far as I know, Academy Award winning actor Robert De Niro has directed at least two movies during his long career. One of them was the 1992 movie, “A BRONX’S TALE”, which I have yet to see. The other was the 2006 espionage epic called “THE GOOD SHEPHERD”.

Starring Matt Damon and Angelina Jolie, “THE GOOD SHEPHERD” told the fictionalized story about the birth of the Central Intelligence Agency (C.I.A.) and counter-intelligence through the eyes of one man named Edward Wilson. Edward, the product of an East Coast aristocratic family and a C.I.A. official, has received an anonymous package during the spring of 1961. The famous C.I.A operation, the Bay of Pigs Invasion of Cuba had just failed. Inside the package is a reel-to-reel tape that reveals two unidentifiable people engaged in sex. Suspecting that the tape might reveal leads to the failure behind the Cuban operation, Edward has the tape investigated. The results lead to a possibility that the operation’s failure may have originated very close to home. During Edward’s investigation of the reel tape and the failure behind the Bay of Pigs, the movie reveals the history of his personal life and his career in both the C.I.A. and the Office of Strategic Services (O.S.S.) during World War II.

Many film critics and historians believe that the Edward Wilson character in “THE GOOD SHEPHERD” is loosely based upon the lives and careers of American intelligence officers, James Jesus Angelton and Richard M. Bissell, Jr.. And there might be some truth in this observation. But if I must be frank, I was never really concerned if the movie was a loose biography of anyone associated with the C.I.A. My concerns mainly focused on whether “THE GOOD SHEPHERD” is a good movie. Mind you, I had a few quibbles with it, but in the end I thought it was an above-average movie that gave moviegoers a peek into the operations of the C.I.A. and this country’s history between 1939 and 1961.

It is a pity that “THE GOOD SHEPHERD” was marred by a handful of prominent flaws. It really had the potential to be a well-made and memorable film. One of the problems I had were most of the characters’ emotional repression. Are we really supposed to believe that nearly every member of the upper-class in the country’s Northeast region are incapable of expressing overt emotion? I am not claiming that the performances were bad. Frankly, I was very impress by the performances featured in the movie. But the idea of nearly every major character – especially those born with a silver spoon – barely speaking above an audible whisper, due to his or her priviledged background, strikes me as more of a cliché than interesting and/or original characterization. I never understood what led Edward to finally realize that the man he believed was the genuine KGB defector Valentin Mironov, was actually a double agent. He should have realized this when the real Mironov had arrived several years earlier. The circumstances that led Edward to seek evidence inside one of the fake defector’s struck me as rather vague and far-reaching on screenwriter Eric Roth’s part. My main problem with “THE GOOD SHEPHERD” was its pacing. It was simply TOO DAMN SLOW. The movie has an interesting story, but De Niro’s snail-like pacing made it difficult for me to maintain my interest in one sitting. Thank goodness for DVDs. I feel that the only way to truly appreciate “THE GOOD SHEPHERD” without falling asleep is to watch a DVD copy in installments.

However, thanks to Eric Roth’s screenplay and Robert De Niro’s direction, “THE GOOD SHEPHERD” offered plenty of scenes and moments to enjoy. The moment of seduction at a Skull and Bones gathering that led Edward into a loveless marriage with Margaret ‘Clover’ Russell struck me as fascinating. It was a moment filled with passion and sex. Yet, the circumstances – namely Margaret’s pregnancy – forced Edward to give up a college love and marry a woman he did not truly love. I also enjoyed how De Niro and Roth used flashbacks to reveal the incidents in Edward’s post-college life and C.I.A. career, while he persisted into his investigation of the mysterious tape in the movie’s present day (1961). I was especially impressed by De Niro’s smooth ability to handle the transition from the present, to the past and back without missing a beat.

There were two scenes really stood out for me. One involved the Agency’s interrogation of the real Soviet defector, Valentin Mironov. I found it brutal, somewhat bloody and rather tragic in a perverse way. The other scene featured a loud and emotional quarrel between Edward and Margaret over the latter’s demand that Edward should convince his son not to join the C.I.A. What made this quarrel interesting is that after twenty years of a quiet and repressive marriage, the two finally revealed their true feelings for each other. But the best aspect of “THE GOOD SHEPHERD” was its depiction of how a decent, yet flawed allowed his work in intelligence and his position of power within the intelligence community warp his character. The higher Edward rose within the ranks of the C.I.A., the more he distanced himself from his family with his lies and secrets, and the more he was willing to corrupt himself in the name of national security . . . even to the extent of disrupting his son’s chance for happiness.

“THE GOOD SHEPHERD” must be one of the few large-scale movie productions, whose photography and production designs failed to give the impression of an epic. I found Robert Richardson’s photography rather limited, despite the numerous settings featured in the plot. So much of the movie’s scenes featured an interior setting. Yet, even most of the exterior scenes seemed to reflect a limited view. In the end, it was up to the movie’s 167 minute running time and 22 years time span that gave “THE GOOD SHEPHERD” an epic feel to it.

Robert De Niro and the casting team did a pretty good job in their selection of the cast. The only one I had a problem with was actor Lee Pace, who portrayed a fictionalized version of C.I.A. director Richard Helms named . . . Richard Hayes. I have always viewed Pace as an outstanding actor, but he spent most of his scenes smirking on the sidelines or making slightly insidious comments to the Edward Wilson character. I believe Roth’s screenplay had failed to give substance to his role. But there were plenty of other good supporting performances. I was especially impressed by Oleg Shtefanko’s subtle, yet insidious portryal of Edward’s KGB counterpart, Stas Siyanko aka Ulysses. Director Robert De Niro, John Sessions, Alec Baldwin, William Hurt, Billy Crudup, Joe Pesci and Tammy Blanchard all gave solid performances. Eddie Redmayne held his own with both Matt Damon and Angelina Jolie as the Wilsons’ intimidated and resentful son, Edward Wilson, Jr. Michael Gambon was his usual competent self as an MI-6 spymaster named Dr. Fredricks. Gambon was also lucky to give one of the best lines in the movie.

At least three performances impressed me. John Tuturro was very memorable as Edward’s tough and ruthless deputy, Ray Brocco. For once, De Niro’s insistence upon minimilist acting worked very well in Tuturro’s favor. The actor did an excellent job in portraying Brocco’s aggression with a very subtle performance, producing an interesting contrast in the character’s personality. I realize that Angelina Jolie had won her Oscar for “GIRL, INTERRUPTED”, a movie that had been released at least seven years before “THE GOOD SHEPHERD”. But I sincerely believe that her portryal of Edward’s long suffering wife, Margaret, was the first role in which she truly impressed me. She tossed away her usual habits and little tricks in order to give a very mature and subtle performance as a woman slowly sinking under the weight of a loveless and repressive marriage. And I believe that Jolie has not looked back, since. The task of carrying the 167-minute film fell upon the shoulders of Matt Damon and as usual, he was more than up to the job. And while there were times when his performance seemed a bit too subtle, I cannot deny that he did a superb job of developing the Edward Wilson character from a priviledge, yet inexperienced college student to a mature and emotionally repressed man who was willing to live with the negative aspects of his profession.

I do not believe that “THE GOOD SHEPHERD” will ever be considered as a great film. It has a small number of flaws, but those flaws were not as minor as they should have been – especially the slow pacing that threatened to put me to sleep. But I cannot deny it is damn good movie, thanks to Robert De Niro’s direction, Eric Roth’s screenplay and a talented cast led by Matt Damon. Fourteen years have passed since its release. It seems a pity that De Niro has not directed a movie since.

 

"THE GOOD SHEPHERD" (2006) Photo Gallery

Below are photos from "THE GOOD SHEPHERD", Robert DeNiro's 2006 espionage saga about the rise and personal fall of a C.I.A. official between the 1940s and the early 1960s. Matt Damon and Angelina Jolie starred:



"THE GOOD SHEPHERD" (2006) Photo Gallery

"TRUE GRIT" (2010) Review

"TRUE GRIT" (2010) Review

I have never read Charles Portis’ 1968 novel called ”TRUE GRIT”. And my only glimpse of Henry Hathaway’s 1969 film adaptation was of John Wayne charging horseback toward a band of outlaws, while armed with a weapon in both hands. So it was with great curiosity that I went to see Joel and Ethan Coen’s recent film adaptation of the novel.

”TRUE GRIT” told the story of 14 year-old Mattie Ross’s efforts to seek justice and retribution for the murder of her father in post-Civil War western Arkansas. Due to the local law’s failure to arrest her father’s killer, Tom Chaney, Mattie travels to Fort Smith and recruits a U.S. Marshal named Reuben “Rooster” Cogburn to hunt down and arrest Chaney in the Indian Territory (present day Oklahoma). Unbeknownst to Mattie, Cogburn teams up with a Texas Ranger named LaBoeuf, who seeks Chaney for the murder of a state senator and his dog. The two men depart Fort Smith and cross into Indian Territory without Mattie. However, she refuses to be left behind and quickly catches up with the two men.

I must admit that I had no idea how I would accept ”TRUE GRIT”. First of all, it was a remake of a successful that led to an Academy Award for its star. Many remakes tend to be inferior to the original movie. However, there have been remakes that are just as good as the original – like James Mangold’s ”3:10 TO YUMA”. There have also been remakes that turned out to be superior to the original – like 1941’s ”THE MALTESE FALCON” and 1988’s ”DIRTY ROTTEN SCOUNDRELS”. Since I have never seen the 1969 version of ”TRUE GRIT” in its entirety, I do not see how I could compare it to this new version. I will admit that it turned out to be a very entertaining and intelligent adaptation of Portis’ novel.

In short, I enjoyed ”TRUE GRIT” very much. Thanks to Joel and Ethan Coen’s writing and direction, the movie struck me as a well-balanced combination of a character study, action film and coming-of-age tale. The movie’s first half, which featured Mattie Ross’s attempts to settle her father’s affairs and recruit Cogburn or anyone else willing to hunt down Chaney. A good deal of the movie’s midway point featured interactions between the three protagonists – Mattie, Cogburn and LaBoeuf – during their journey through the Indian Territory. But once Mattie and Cogburn come across outlaws associated with a fugitive gang leader named “Lucky” Ned Pepper, the movie’s action kicks into high gear. More importantly, the movie’s shift into action did not impede its strong characterizations and drama one bit. Another aspect of ”TRUE GRIT” that I had enjoyed was the dark humor – a trademark of the Coens’ work – that permeated the movie. It certainly befitted the movie’s dark coming-of-age tale and its characters.

I also have to give kudos to the movie’s production designer, Jess Goncher. He did a superb job in re-creating Fort Smith, Arkansas and the Indian Territory during the late 1860s. One of the best things he ever did was choose or suggest the production film the movie in New Mexico and Texas – states that bordered Oklahoma (formerly the Indian Territory). In doing so, he allowed the movie’s setting to adhere closer to Portis’ setting in the novel. Goncher was ably assisted by costume designer Mary Zophres, whose costumes perfectly captured the movie’s setting and character; and cinematographer Roger Deakins, whose photography strongly reminded me of the old daguerreotype images of the mid-to-late 19th century.

Matt Damon found himself following in the footsteps of singer Glen Campbell, in his portrayal of Texas Ranger LaBoeuf. I have seen some of the 1969 film and I must admit that Campbell gave a pretty solid performance. But Damon’s portrayal of the character struck me as more detailed and skillful. In fact, the actor did an excellent job in portraying the competent, yet egotistical lawman. Not only did Damon made me forget that he had very little experience with Westerns, he is one of two actors I have ever seen convey the correct method (breathing included) in long distance shooting. Josh Brolin had more experience with Westerns – including a co-starring role in the ABC series, ”THE YOUNG RIDERS” and the Coens’ award-winning film, ”NO COUNTRY FOR OLD MEN”. He portrayed the heroes’ main target, hired hand/outlaw Tom Chaney. The actor did not appear in many scenes of ”TRUE GRIT”, but his character permeated the movie’s first half like a malevolent spirit. Once he made his appearance, Brolin’s Chaney seemed insignificant and dimwitted. Yet, as the movie continued on, Brolin revealed more of Chaney’s cunning and stealth with great skill and subtlety. The movie also benefitted from a solid performance by supporting actor Barry Pepper, who portrayed “Lucky” Ned Pepper, an outlaw leader who is sought by Cogburn. The actor’s Ned Pepper struck me as a curious mixture of ruthlessness, pragmatism and honor. He seemed to have no qualms in killing the 14 year-old Mattie over her evasions regarding Cogburn’s whereabouts. And yet, after she honestly answered his questions, his character seemed very willing to keep his word about sparing her life. I have always been an admirer of Pepper’s talents. This role certainly confirmed my opinion.

When I had discovered that Jeff Bridges would end up reprising the role that led to an Academy Award for John Wayne, I almost felt sorry for him. Almost. I eventually realized that my sympathy would be wasted on him. Bridges was talented and charismatic enough to put his own stamp on the role of Reuben J. “Rooster” Cogburn. Sure enough, Bridges did exactly just that. His portrayal as Cogburn seemed so thorough that I found it difficult to see the actor within the character. His darker portrayal of the character also made me forget about Wayne’s friendlier spin on the role. The main character of ”TRUE GRIT”, in my opinion, turned out to be one Mattie Ross, the 14 year-old daughter of the murdered man. Her desire and determination to seek retribution for her father’s death turned out to be story’s catalyst. Hailee Steinfeld beautifully captured every aspect of Mattie’s complex nature. In fact, there were times I had felt as if I was watching a strong-willed and ruthless woman inside an adolescent’s body. However, Steinfeld’s performance also reminded me that behind the strong will and ruthlessness lurked an innocent and inexperienced young girl. Steinfeld’s chemistry with her co-stars seemed so strong that I found myself wondering how Cogburn, LeBouef or both would regard Mattie if she had been an adult. I have heard speculations of a possible Best Supporting Actress Oscar nomination for Steinfeld. In my opinion, she deserved a nomination for Best Actress. After all, she was not only the leading female character, but the story’s main character.

It just recently occurred to me that ”TRUE GRIT” failed to earn any Golden Globe nominations – major or minor, last month. Frankly, I considered this a joke. Not only did I enjoy it very much, I consider it to be one of the best movies I have seen this year. It is a rare occurrence to find a remake that is just as good or perhaps even slightly better than the original. Fortunately, the movie managed to earn 10 Academy Award nominations. And thanks to Ethan and Joel Coen, ”TRUE GRIT turned out to be one of those rare gems.

"TRUE GRIT" (2010) Photo Gallery

Below are images from "TRUE GRIT", the 2010 movie adaptation of Charles Portis' 1968 novel. Directed by Joel and Ethan Coen, the movie stars Jeff Bridges, Matt Damon, Josh Brolin and Hailee Steinfeld:

"TRUE GRIT" (2010) Photo Gallery

"THE BOURNE ULTIMATUM" (2007) Review

"THE BOURNE ULTIMATUM" (2007) Review

"THE BOURNE ULTIMATUM" marked author Robert Ludlum's last novel about the amnesiac CIA agent/assasin Jason Bourne (Matt Damon). Considering that the first two movies - "THE BOURNE IDENTITY" (2002) and "THE BOURNE SUPREMACY" (2004) - barely resembled the novels from which they were adapted. One can honestly say the same about "ULTIMATUM". Most diehard fans would obviously be upset over these loose adaptations. But since I am not a big fan of the Ludlum novels, it does not really bother me. But this latest movie does continue the saga that began in the first movie. And in one of the most surprising ways. 

Before I saw the movie, I had heard rumors that it began at least six months after the events of "SUPREMACY". The rumor turned out to be slightly false for the majority of the movie ended up being set six weeks later. In fact, the first scene began in Moscow, where Bourne had apologized to Irena Neski for murdering her parents and killed Marie's murderer Kirill after a high speed chase; until the story jumped another six weeks. But screenwriters Tony Gilroy and Scott Z. Burns managed to plant a surprise within three-quarters into the film that has strong connections to "SUPREMACY"'s final scene.

As for the rest of the movie, like its predecessors, it turned out to be high-octane action thriller and mystery. Following his arrival in Paris, Bourne reads an article that revealed his past - including his relationship with Marie - and his connections to Treadstone. The article also featured exposure of a new CIA assassination program called "Blackbriar". Realizing that the reporter Simon Ross (Paddy Considine) of THE GUARDIAN might have a source within the CIA, he heads for London and attempts to help the reporter evade capture and possible death at the hands of a Blackbriar assassin named Paz (Edgar Ramirez) . Bourne fails to save his life and he spends the rest of the film tracking down Ross' source - a CIA section chief named Neal Daniels (Colin Stinton). He also has to deal with a paronoid CIA official named Noah Vosen (David Strathairn), who wants Daniels dead for treason. Vosen also wants Bourne dead, because of the latter's supresssed knowledge of the Treadstone program and the New York training headquarters where both the Treadstone and Blackbriar programs began. Along way, Bourne acquires the help of former Treadstone handler, Nicky Parsons (Julia Stiles) and CIA Deputy Director, Pamela Landy (Joan Allen). I found two sequences well-written and very exciting:

*Bourne's attempts to keep Ross alive in London.

*Bourne and Nicky's adventures in Tangiers, while dealing with Blackbriar assasin Desh (Joey Ansah).

*Bourne's memories of his other self's [David Webb] decision to become a Treadstone assassin.

Some of "ULTIMATUM"'s screenplay is excellent. And I have to take my hat off to Gilroy and Burns for creating an exciting script. But . . . I have to point out a few flaws. One, the final scenes feature fugitive Nicky Parsons learning about the exposure of the Blackbriar and Treadstone assasin programs on the news . . . and the arrests of Vosen and others involved in the two programs - CIA Director Ezra Kramer (Scott Glenn) and psychologist Dr. Albert Hirsch (Albert Finney). Frankly, I found this conclusion unrealistic. Yes, one can consider it a crowd pleaser, but there is no way on earth the CIA would allow its dirty secrets (at least recent ones) to be aired any national news program. And I doubt that Landy would have sent Vosen's secret files to the media - not if she wants to maintain her career. Chances are the CIA would have suppressed news of the programs and killed Vosen and Hirsch, and Kramer out to pasture where he can die under mysterious circumstances. 

Two, this movie was set six weeks after the 2004 movie. What happened to CIA director Marshall, portrayed by Tomas Arana? He was replaced by Scott Glenn, who portrayed the new CIA director, Ezra Cramer. And judging by the scenes with Cramer, I got the feeling that Gilroy and Greengrass were trying to sell the idea that Cramer had been in this position for several years. The movie even claimed that he was the one who originally approved the Blackbriar program. And this is impossible. Only Marshall or whomever was CIA director at the end of 2002's "THE BOURNE IDENTITY" could have been around to approve the very program that Ward Abbott had presented.

Also in "THE BOURNE ULTIMATUM", Nicky Parsons had hinted of some past relationship between her and Bourne. I hope she was not referring to some kind of romantic relationship. Not once did Nicky ever hinted any romance between her and Bourne either in "IDENTITY" or "SUPREMACY". And finally, I feel that this movie suffered from too much action and not enough narrative . . . especially in the first half. I was surprised at how quickly the movie shifted into action in London, some fifteen minutes into the film.

As for the acting - well it was top notch as usual. In what promises to be his last film, Damon makes the role Jason Bourne [David Webb] as his own. Julia Stiles continued to prove, as she had done in "SUPREMACY" that she and Damon have great screen chemistry . . . despite the discomfort and ackwardness between the two characters. This ackwardness came about Bourne's revelation of his distaste of his role as an assasin and a scene in which Nicky changes her appearance, dredging up memories of Marie doing the same in the first film. Joan Allen was marvelous. In fact, I believe that her performance in this movie was an improvement over the second film. And both David Strathairn and Albert Finney proved to be remarkably creepy and unpleasant. Although I believe that Strathairn was as good as Brian Cox (as Ward Abbott), I found him to be an improvement over the slightly over-the-top Chris Cooper (as Conklin).

Paul Greengrass' direction was just as top notch as Kilroy and Burns' screenplay. But as with the movie's script, I have a complaint about him. I had barely tolerated Greengrass' handheld photography in "SUPREMACY". In "ULTIMATUM", my toleration nearly went down with the Titanic. I almost had a headache dealing with the shaky camera work. My other complaint deals with this movie's rendention of Moby's song, "Extreme Ways". Quite frankly, I hated it. I hated the changes made to the song's tempo and vocals. Despite all of this, "ULTIMATUM" proved to be just as exciting as the first two movies. And together, Damon, Greengrass, Kilroy and Universal Pictures have themselves a first-rate trilogy and franchise.

"THE BOURNE ULTIMATUM" (2007) Photo Gallery

Below are images from "THE BOURNE ULTIMATUM", the 2007 entry in the BOURNE movie franchise. Directed by Paul Greengrass, the movie starred Matt Damon: 



"THE BOURNE ULTIMATUM" (2007) Photo Gallery