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In a heated exchange,
Patrick Kenzie shouts to Detective Broussard “Murder is a
sin!” to which the enraged officer replies, “It depends
on who you do it to.” Every character in Gone Baby Gone is
faced with moral dilemmas and the tempestuous outcomes in turn pose
the question to the audience – how far are you willing to
go for what you believe is right? As the lines between right and
wrong blur for the characters and they seek out forgiveness or absolution
for their choices, the audience is forced to pick a side; but doing
the right thing never felt so depressing. The sinking feeling that
choosing what is legally right isn’t what is best for the
well-being of the characters involved leads to many interesting
questions, but not to a feeling of satisfaction. While the ends
might just justify the means, seeing justice prevail - but not happiness,
is a rough trade-off in the world of entertainment; one that is
necessary for realism. But who wants to stay too close to reality
in the solace of a movie theater?
Amanda McCready (Madeline O’Brien) hires Patrick (Casey
Affleck) and his partner Angie (Michelle Monaghan) to aid in the
search and rescue of her kidnapped niece. The drugged-up and seemingly
uncaring mother Helene (Amy Ryan) isn’t nearly distraught
enough to be telling the whole truth, and Amanda’s husband
(Titus Welliver) is equally edgy. Reluctantly joined by Detective
Remy Broussard (Ed Harris) they interrogate local scumbags and
kingpins to locate the little girl. But as each new clue is uncovered,
the puzzle continually fails to fit, and by the maddening conclusion
nothing is what it seems. |
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The acting is incredibly
well done, with Casey Affleck heading the sensational cast with
a very unconventional character. He struggles to be a straight-laced
hero, and yet the film belittles him by giving him ties to shady
miscreants and scenes in which he is not afraid to pull a gun in
a bar fight that he instigated. It is strong acting, but in the
end Patrick is a relatively dislikable character. Michelle Monaghan
is his sidekick and girlfriend and she plays it straight, becoming
much less memorable. Ed Harris steals the show with his intense
and ferocious cop Remy Broussard, who holds a fragile façade
that quickly foreshadows darker motives. Freeman also does his share
of scene-stealing as the deadly serious officer in charge of the
tragic investigation.
The most distracting problem with Gone Baby Gone is its off-putting narration and the structuring of its three acts. Casey Affleck narrates at the beginning, which sets up the mood and aids with character development. Right around the halfway point of the film, his monotonic voice cuts back in to narrate, despite the fact that it isn't the end. And yet it sounds exactly like he is summing up events and drawing the film to a close. This bizarre interpretation by an omnipotent voice jarringly yanks the audience out of their focus on the engaging storyline, which is a critical mistake. Ben Affleck’s directorial debut is a strong one, with powerful performances and a searing commentary on the nature of right and wrong. What it lacks in catharsis it makes up for in gritty realism and tense struggles for both life and justice. Such morally complex and diverse characters in an unflinching world are seldom seen, and regardless of your approval of these characters’ decisions, Gone Baby Gone won’t quickly leave you. - The Massie Twins |
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