Mystic River: BD Review
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Page 1 of 3 Warner / 137 Minutes / 2003 / Rated R / Street Date: February 2, 2010 
Clint Eastwood has already had an amazing career and has certainly earned his place as a true American cinematic icon. His classic portrayals of those nameless western heroes and his many variations on the Dirty Harry character would alone have cemented his place in the movie history books, but his late-career directorial efforts have really put him over the top. Beginning with his Oscar-winning Unforgiven, virtually all of the films he’s helmed since have been solid and compelling; textbook examples of precise and skilled filmmaking. Of these recent projects, the two that rise to the top are Million Dollar Baby and Mystic River. While the former packs an initial emotional wallop that seems to fade a bit with time, the latter leaves a lasting and haunting impression that resonates even after repeat viewings. Like most Eastwood directorial efforts, Mystic River’s greatest strength lies in Clint’s ability to assemble a top-notch cast, and this film’s roster reads like a who’s who of acting talent: Sean Penn, Tim Robbins, Kevin Bacon, Laura Linney, Marcia Gay Harden and Laurence Fishburne. With such great talent in place, Eastwood’s low-key direction allows for these seasoned actors to shine. Deep, dark and disturbing, Mystic River — based on the novel by Dennis Lehane (Shutter Island) — is one of Eastwood’s most accomplished films. For a quick plot synopsis, I defer to Dan Ramer’s original review posted on DVDFile in May 2004:
“The theory is probably so well-known that it does not bear repeating, but current pop psychology tells us that the through-line between the abused and the abuser is a straight and narrow one. Violence begats violence. Those lied to will feel compelled to lie. And a child whose innocence has been destroyed will grow up to destroy innocence. We have come to accept such truisms so readily that they have all but been accepted as fact, and come to form their own Bible of off-the-shelf spirituality. You can turn on Oprah any day of the week and bear witness to a nation of sufferers whose tools are self-loathing and blame, and only hope at redemption is to be dragged through the mud of victimization and deposited on the other side of the river bank — if not entirely cleansed then at least transformed by the teachings of Dr. Phil. It is easy to be cynical or mock, but the lure of public validation remains an extremely powerful and enticing elixir. Self-help has replaced mysticism as our culture’s last, great hope for transcendence.
“Mystic River is, in many ways, a film about this great American tradition. Jimmy, Dave and Sean were all friends who grew up in working-class Boston, only to be irrevocably scarred by an unspeakable crime. The intervening years will see them drift apart to lead three very different lives. Jimmy (Sean Penn) is the ex-con and divorced father of three who now runs a convenience store in the old neighborhood. Sean (Kevin Bacon) is the cop that made good. And Dave (Tim Robbins) the victim of sexual abuse, whose repression of the event will lead to a devastating act of impulsive violence. The three men’s inability to accept the truth of what really happened will come back to haunt them — and shatter the lives of all around them forever.
“Mystic River is part mystery, part drama, part horror movie. Clint Eastwood directs with his usual clock-like precision and languid pacing — he has never been one to hurry a scene or cater to short attention spans. He also employs consistent, quick fadeouts between scenes, as if the film itself is a fragmented memory, hiding truths so painful all it can do is look away. Eastwood’s studied approach indeed pays great dividends: as he pulls all of the thematic threads together, drawing us towards the smashing climax (one that we have anticipated from the first frame but still feels inexorable), it is like a broken mirror being put back together again — and even more shattering in reverse.
“Yet the high level of craftsmanship is also the film’s albatross. The screenplay by Brian Helgeland (L.A. Confidential) is so expertly finessed that there is not an ounce of wasted breath, which gives us much to admire but little to love. It also proves to be a challenging narrative for Eastwood to humanize: he is often like a methodical surgeon dissecting a corpse with dispassion, studying it for clues rather than revealing the heart that used to beat inside it. Mystic River often feels cold and austere rather than warm and tactile. There are no rough edges or dangling threads; its structural perfection threatens to render it sterile.
“The cast of Mystic River is what gives it its pulse. Although a highly-acclaimed and honored film, even Eastwood’s achievement has been somewhat overshadowed by the work of Oscar winners Sean Penn and Tim Robbins, and to a lesser extent Marcia Gay Harden, Kevin Bacon and Laura Linney. They do more than perfectly nail the Boston accents and weathered cynicism of their characters: they exude a real, everyday believability that allows us to swallow the script’s sometimes convoluted tapestry of lies, misdeeds and wrongdoings. By the time we get to the film’s most iconic image — Penn standing bare-chested, shoulders hunched over, primed for revenge, in front of an open window — the line between actor and character has become irrevocably blurred. The climax is one almost impossible to forget.
“Mystic River is a film of great intelligence and honesty. It is also bleak and reserved. It is an easy film to admire but hard to fully embrace and love. I was left with a great many questions, and rare is the modern American film that not only dares to challenge and provide, but is made for and by adults. I cannot help but feel the need to recommend it based on its virtues alone. But I also cannot say I enjoyed it as much as I wanted to.”
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