|
Ignore all the marketing blurb about this being the next Seven. It isn't. If anything, The Pledge is
an anti-Hollywood film, or if you believe director Sean Penn, an anti-Michael Bay film.
Penn has always had a stormy relationship with the establishment, from punching photographers to
shooting at reporters in helicopters at his ill-fated wedding to Madonna but in directing he has discovered
the perfect medium to vent his mania. And, as with many of Hollywood's more volatile cohorts -
John Milius, Oliver Stone, Robert Downey Jr, Johnny Depp, this is where the greatest talent is often found. His previous
films (The Indian Runner & Crossing Guard) were dark, poetic meanderings into the
human psyche and his propensity to extract career-defining performances from great actors is truly
admirable. Jack Nicholson long ago reached that esteemed position of peerage where effort is
no longer required (De Niro take note) yet his performance in The Crossing Guard is among
his finest. Penn is unafraid to leave the
camera running and allow actors to pace out their performances. Where many films suffer from allowing
such freedom (just look at Pacino & Travolta's more OTT stock), Penn has an uncanny knack of balancing
rampaging ego & subtle understatement. Tempered by his editing Penn simultaneously restrains any
indulgence whilst releasing the performance, resulting in an intense & theatrical yet refreshing display
of acting. He has emerged as the truest of artists, an auteur whose mature hostility has flowered into
an uncompromising talent.
The Pledge (based on the novel by Friedrich Durrenmatt) retains the poetic sensibility that has defined
Penn the director. However, the film's bright, open
landscapes take the brooding sheen off and numerous middleweight cameos prove more distracting than
impressive. When we see Helen Mirren, Mickey Rourke & Benecio Del Toro they are just that: big name
stars rather than convincing character actors. Del Toro turns in nothing new except endangering
himself with self-charicature
with another spell of oral incomprehension while Rourke's presence must surely be Penn's favour to
a drinking buddy to prove to the film-world he can still act: he cries. Nicholson's
performance has been rightly lauded and Robin Wright Penn continues to shine and following in the
footsteps of outstanding performances in The Crossing Guard & State of Grace (Julia Roberts &
Catherine Zeta-Jones take note) you have to wonder why oscars haven't yet come knocking?
The Pledge is another applaudable installment in the directing career of Sean Penn although it doesn't
translate to the screen as well as previous efforts (despite what critics might tell you). Even though it is
often less convincing and, to be honest, less compelling than The Crossing Guard
or The Indian Runner it is still worth a look. US audiences shyed away (always a good sign) stirring
Penn to reply "if you put 3 thoughts in your movie, you've broken the law and no one will come." Be
warned though: this is a film that refuses to play to it's audience. It is not pretty but it is smart.
The Pledge will not leave you feeling ebullient or content but hey, that's life.
And this is precisely Penn's point.
Here's to more Michael Bay baiting.
RATING: (c)Limer 2001
|
The Pledge (Cinema: October 2001)
