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 Everyone
knows that the summer season is when the Hollywood studios make
most of their cash (amazingly, up to 43% of their annual revenue),
so it’s no surprise that they cater to the masses by releasing
so many popcorn-minded blockbusters. The problem is that by mid-July,
many moviegoers might find themselves burned out from an overdose
of gunfights, explosions, and worst of all, corny dialogue from
pumped up A-list stars. That’s why the prospect of watching a
simple, straightforward and well-acted drama might seem like the
cinematic equivalent of kicking back on a comfy sofa with your
favorite pair of slippers.
To that extent, “The
Clearing” is a perfect fit. It’s not a great film by any means,
but it’s certainly good at what it set out to do. Boasting sharp
dialogue, an intense pace and strong performances from the likes
of Robert Redford, Willem Dafoe and Helen Mirren, the psychological
thriller succeeds as a slightly uneven, but ultimately reflective,
somber and deeply engaging drama that will move you in unexpected
ways.
Wayne (Robert Redford)
and Eileen Hayes (Helen Mirren) appear to be living the American
Dream, but when Wayne is kidnapped and held for ransom by a disgruntled
ex-employee (Willem Dafoe), Eileen is forced to come to terms
with some harsh realities about her flawed marriage. As Wayne
and his kidnapper traverse the back woods en route to a mysterious
destination, the ordeal also forces him to reassess his relationship
with Eileen. Husband and wife may end up with a deeper appreciation
of their marriage, but what good is it if they never see each
other again?
After producing 70’s-influenced,
character-driven dramas like “Heat,” “Bulworth” and “The Insider,”
Pieter Jan Brugge makes an effective directorial debut with “The
Clearing.” Just like Clint Eastwood did with last year’s “Mystic
River,” Brugge’s only priority here is to tell a straightforward,
solid, well-acted story with a powerful ending that bucks the
Hollywood trend. There are no hyper-kinetic, testosterone-fueled
gimmicks here; just a deep, psychological approach where the conflict
in the woods parallels the emotional struggle back home.
And it’s while we’re
at home at the Hayes compound that the true power of the film
comes into play. Despite the presence of a minimal FBI setup,
the family members struggle to carry on with their lives. Eileen
and her daughter go for a swim, Eileen and her kids celebrate
the birthday of her 1-year-old grandson, and, in a crucial scene,
Eileen goes so far as to confront her husband’s mistress. It’s
a jarring change from what we’ve come to expect from the hostage-for-ransom
genre, but that’s why it leaves such a lasting impression.
As expected, the acting
is top notch. Hollywood legend Robert Redford has never been known
for having a lot of range (and his weathered appearance is a far
cry from his dashing 70’s heyday), but he still possesses a commanding
and likable quality that makes him very appealing. Willem Dafoe
is also effective and brings an equally suspicious and sympathetic
quality to Redford’s kidnapper, but there’s no doubt that “The
Clearing” belongs to Helen Mirren. The veteran actress never falls
into any melodramatic traps, and she anchors the film with a subtle,
powerful performance that’s simply elegant.
It seems somehow appropriate
that Redford and Dafoe spend most of their time trekking through
the woods, for it’s while they’re in the woods that Redford finally
sees the forest through the trees and realizes how good he has
it with his family. It’s tragic to think that it would take such
a horrific ordeal to make him reassess his priorities, but as
the saying goes, “better late than never.” And it’s a good thing
too, because in a summer bogged down with mind-numbing Hollywood
eye candy, the season just got a whole lot better with “The Clearing.”
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