Ben Affleck, who, if you remember, started out in cult classic “Dazed and Confused” (as O’Bannion, the sadistic senior desperate to paddle freshman boys) and who won an Oscar – for writing “Good Will Hunting,” no less – early in his career, is clawing his way back from “Gigli” and “Daredevil” shame.
His impressive work in “Gone Baby Gone” is rebuilding his street cred, which probably hit an all-time low when he lounged in a cheesy music video with career-jeopardizing girlfriend J-Lo, smugly smearing suntan oil on her famous hind quarters
Sticking his little brother Casey in front of the camera for this one and focusing on writing and directing, Ben Affleck has rescued himself from permanent hack-dom with this intense drama. It is based on the novel by Dennis Lehane, who also wrote “Mystic River,” and this story has a lot in common with that one, such as a Boston setting and a violent crime involving children.
The supporting cast is the key to this film’s success. Rightfully nominated for an Oscar, Amy Ryan is indelible as a disturbingly bad mom whose 4-year-old daughter is kidnapped. Giving a truly unsympathetic turn as an unapologetically terrible parent, my favorite shocking moment out of many was when she mocked her sister-in-law, the only adult showing much emotion over the child’s disappearance, for being “barren.” Ouch.
Meanwhile, if there was an Oscar for extras casting, someone on this film would be polishing it right now. Compellingly weird-looking “real” people line the streets, shuffling around in ill-fitting clothes, giving the film a truly gritty look.
“Gone Baby Gone” is surprisingly complex in many ways, forcing viewers to switch allegiances, change our minds, and question our moral ideas as often as the protagonist does. Casey Affleck is excellent as the honest-but-naïve detective reluctantly drawn into a case far more serious than any he has worked before.
The only point I initially had trouble with was one of plausibility, as he works with his beautiful girlfriend, fellow detective Michelle Monaghan, who follows fearfully along as he antagonizes frothing angry drunks and provokes menacing drug dealers. While they are both established as locals who grew up with the seedy folks they encounter, the discrepancies in grooming alone are glaring, and it’s rather hard to imagine what led this gorgeous woman to her dangerous career.
However, as the film progressed, she emerged as an important emotional element in the film, and their lack of experience became not just an excuse to cast cute young actors, but a legitimate character motivation.
While I have never valued the element of surprise as terribly important to my enjoyment of a film, I did admire the genuine suspense throughout this film. This was important, not just to make you admit that you didn’t see it coming, but because confusion is at the core of the action.
Traditionally, a woman whose daughter has been kidnapped is a “good guy,” and anyone between her and her child is a “bad guy,” but this film questions not just who is doing what, but asks really hard questions about what is right and wrong. Influencing our decisions are issues of class, race, and religion, and, perhaps what is most challenging of all, is that there is no didactic answer delivered for us. We are left wondering even about those ostensibly closest to being heroes, with the only clear message being that there is, after all, no such thing as a hero.
“Gone Baby Gone” is currently available to rent.
Contact Asia Frey at afrey@lagniappemobile.com.
Archives
The Reel World
