Gone Baby Gone

There are no spoilers so feel free to read on. Also, if you're not familiar with my method of critiquing movies check out an explanation here.

In the increasingly twisting folds of film (or digital bits) that make up the film “Gone Baby Gone” lies one of the best films I’ve seen in a long while. Ben Affleck decided to return to what he apparently knows best, and that is writing screenplays. Granted, this is an adaptation and not an original like “Good Will Hunting” but it is haunting nonetheless. What’s truly amazing is that Affleck directed the film as well. I, unlike many, was never one to dismiss him as actor; I just thought he didn’t know how to choose good roles. But after this film I don’t care if I ever see him act again, I just want him to create more films. In his directorial debut he also pulled off a casting coup. Not many people have the clout to cast Morgan Freeman and Ed Harris in a film their first time out, much less in supporting roles. He then placed Michelle Monaghan (who was great, if underused in "Mission: Impossible III" and "Kiss Kiss Bang Bang") and Amy Ryan (whom I’d never heard of, but was apparently on HBO’s "The Wire") in key supporting roles and they sure didn’t let him down. But his main casting coup came in the form of Casey Affleck, Ben’s younger brother. Putting aside the fact that Casey is great in every film he’s been in, the coup is that because he’s Ben’s younger brother, Ben knows him better than most people and thus was able to extract the best performance from Casey yet (I’ve not yet seen "The Assassination of Jesse James by the Coward Robert Ford", so I reserve the right to declare Casey better in that film if I so desire).

The film opens on the streets of Dorchester, MA, where we discover that Helene’s (Amy Ryan) 4 year old daughter has gone missing, and has most likely been kidnapped. We then find out that Patrick (Casey Affleck) and his girlfriend/business partner Angie (Monaghan) are missing persons detectives. They’re just not the sort of detectives that normally look for missing children, normally they look for people who’ve defaulted on their debts and skipped town etc… When Helene’s brother and sister-in-law show up at their door wanting to hire them they reluctantly take the job. They then meet Chief Doyle (Freeman) who puts them in touch with two police detectives working on the case (Harris and John Ashton). All of this happens in the first 15 minutes. What follows is fascinating and disturbing and magnificent all at once. At least three times Patrick faces some extremely gray moral lines and he makes the best choices he knows how to make, but increasingly he’s confused and bewildered by what’s happening. At one point he says, “My priest says that shame is my conscience telling me I was wrong,” he then goes on to declare that he wouldn’t make that same decision again, even if it was the right one to make. By the end of the film Patrick’s face is worn with weary look of someone who doesn’t know which way is up.

If all this sounds rather intense, well, that’s because it is. However, it’s well worth the effort to make your way through the film. Unfortunately, I doubt many people will. In this article on contemporary war movies at the New York Times, A.O. Scott points out that increasingly the films meant to challenge us are pulling in smaller and smaller audiences while lighter fare holds reign. He says a few things that I think can also be applied to other contemporary movies like "Gone Baby Gone" as well.

It may be that this opposition [to the war] finds its truest expression in the wish that the whole thing would just go away, rather than in an appetite for critical films.… When filmmakers leave such touchy, serious political issues alone they tend to be scolded for complacency or cowardice. But …[w]hat is notable about this new crop of war movies is not their earnestness or their didacticism — traits many of them undoubtedly display — but rather their determination to embrace confusion, complexity and ambiguity.

and

…the final image of “In the Valley of Elah”[I'll try to get up a review about this one as well, I saw it a few weeks ago] — an American flag flying upside down — is, similarly, both disturbing and vague. It is a sign of danger and distress, and it brings home the grief and confusion that have haunted the film’s main character, a retired army officer played by Tommy Lee Jones whose son has gone AWOL shortly after returning from Iraq.

The grief and confusion are left hanging like that flag, and like the feelings of sorrow, anger and impatience that linger at the end of “Lions for Lambs,” “Redacted” and the others ["Gone Baby Gone"]. What is missing in nearly every case is a sense of catharsis or illumination. This is hardly the fault of the filmmakers. Disorientation, ambivalence, a lack of clarity — these are surely part of the collective experience they are trying to examine. How can you bring an individual story to a satisfying conclusion when nobody has any idea what the end of the larger story will look like?

Indeed.

This film has been rated 'R' for language, violence, and a few disturbing images.