The Company You Keep

I AM CONVINCED THE CONSERVATIVE PRESS MISSED THE ENTIRE POINT OF THE MOVIE.

While I'm totally conservative, the talking heads that trashed this film blew it completely.

This film does not glorify terrorism. Quite the opposite. It shows how a person can cross the line from being an "activist" to being a felon/terrorist. It is sort of a retrospective of an activist's two lives - one he abandoned once he crossed the line, the other, the stolen life he built afterward.

There is a price one pays to the public through the court system. There is also a private price, or a personal price one also pays. In both cases,the focus is more on the private price he foisted off on loved ones to avoid paying his public price for his acts.

(The reader must understand that Sloan was guilty of some felony activities, but NOT the murder of the bank guard. His crimes, if caught, were worth some jail time, but not a life sentence for murder.)

People should watch this just so they could consider the idea that actions they might start can easily spin out of control, leaving them with consequences they might be forced to live with for the rest of their life, and MORE IMPORTANTLY, exact an even worse price upon all their loved ones.

This is a VERY tightly packed movie, hardly a word that isn't important to the development of the plot. Watch it closely.

This movie does need a bit more tension and rage at one particular point, but that's about the biggest flaw I saw.

Just so you know, Redford, 76, is playing the role of a late 60 year-old, and there are very important reasons why he has a young daughter. Now, it is up to you to see this film and figure out why.

By the way, this movie has a lot of great talent in it, and they each do very well for themselves and the presentation of the movie's theme. There are 14 class act performers, plus one. This would be a hard cast to play against, but "plus one" did a super job in her first movie role.

Forty years ago, members of the Weathermen robbed a bank in Michigan, killing a woman in the event. The people involved scattered into the wind. Now Susan Sarandon, has been arrested by the FBI for her part in the murder, and the police are looking for her accomplice, Robert Redford. For the past quarter of a century he has been keeping his head down as a lawyer in Albany, New York, raising his daughter, mourning the death of his wife. Plus he wasn't at the robbery, but the only person who can prove that is Julie Christie, and he has no idea where she is.

As the movie progresses we see former campus radicals, and the staid individuals they have become. Judging by the quality of the actors, they are a minorly distinguished bunch: Nick Nolte, Chris Cooper, Stanley Tucci, Richard Jenkins, Sam Elliott.... it's the sort of cast that Sundance founder, director/producer Robert Redford could assemble for a meditation on right and wrong and issues about whether the ends justify the means, and what punishment can be added to four decades in hiding, terrified that you'll be sent to jail.... and wriggles out of the dilemma by making Redford innocent. Of course we're on his side! He's Robert Redford! He's a good dad! He didn't do anything!

Still, it's good to watch these expert thespians at work.

There's a lot to think about after watching Robert Redford's movie, 'The Company You Keep', although sadly, some of the ideas are provoked by their absence in the film, rather than their presence. The story is based on the real life activities of the Weather Underground, a radical left- wing organisation of then1970s; in this story, the police are finally closing in on the remnants of the gang (who are still wanted, among other things, for murder) after over 30 years. It's a good premise, and the movie is unfashionably sympathetic to its protagonists, respecting their idealism whatever wrong they did. Yet in some way it's the wrong kind of sympathy: the individuals are shown as parents, grandparents, living conventional lives, not completely rejected their own past but nonetheless no longer people one could imagine committing such acts. I think there's an interesting subject: what conventionally speaking might be considered defects would drive someone to ignore their own immediate interests for the sake of a cause (and ultimately drive them beyond mere idealism to take a Raskolnikovian view that their cause gives them the right to decide who lives and who dies). The idea of idealism as a social disease (because society depends on its members not asking too many questions) is an obvious and interesting question to raise in this film; but instead we see a group so well-socially adjusted that it's hard to believe in any of them as trigger-pullers, even in a former life.

There's a second strand to the film about a journalistic investigation of one of the suspects. Redford, of course, acted in one the great journalistic movies ('All the President's Men') and this one can't hold a candle to that; the story is obvious and feels basically unnecessary (except, presumably, that you can't get a film made these days unless you have some actors in it under the age of 30). I still quite liked the movie, but overall, it's a little too kind on the nature of journalists, terrorists and society alike; and fundamentally cuddly where it should be disconcerting.

This film is about a journalist who uncovers the hidden truth of the events of a failed bank robbery by a radical anti-war group thirty years ago.

"The Company You Keep" looks amazing on paper, with an impressively stellar cast. The plot involves both a journalist and the FBI chasing after Robert Redford, which appears to have much tension but there really isn't. The journalist has the upper hand in unravelling the stories, making the FBI rather displeased. This supposed rivalry between the two parties is not portrayed deep enough, for example, the search warrant subplot was not followed through. How the journalist uncovers all that information was not presented, and hence I was confused about a few things, such as how he knew about the former policeman's daughter's true identity, and how he knew the true intention of Robert Redford's cross-state travels. There are too many loose ends and unexplained subplots, and too little tension. "The Company You Keep" could have been better, but is still worth watching for the stellar cast.

"When we revolt it's not for a particular culture. We revolt simply because, for many reasons, we can no longer breathe." Frantz Fanon

In Robert Redford's The Company You keep, Jim Grant (Redford) is an attorney on the lam for participating in Weather Underground anti-Vietnam activities over 40 years ago. That a bank robbery resulted in the death of a guard has made the revolutionaries fugitives from murder charges.

This political thriller, in which the FBI has finally zeroed in on the robbers because Sharon Solarz (Susan Sarandon) has decided to turn herself in, devolves into a formulaic chase with helicopters and frantic cell calls, but along the way has some engaging dialogue ("Yeah we all died. Some of us just came back." Donal Fitzgerald, played by Nick Nolte) often given in the repartee style of screwball comedy without the comedy.

I am most surprised at director Redford's political restraint, given his inclination to preach baldly in previous films and in his personal life. The Company You Keep smoothly combines the pacing of a race for survival with the consciousness of a moderate liberal trying to show the unglamorous effects of sins, like excessive ambition and murder, over a lifetime. In its favor the film does not overdo its sympathy for the kids of these radicals, although Brit Marling as Rebecca Osborne would make anyone cry over her, so innocent-looking she is.

While the film tends to emphasize the personal effects on lovers and families to the exclusion of the Weatherman history, it still is instructive about the radical movements decades ago. Although the theme of the ramifications of keeping a secret are parsed by Grant in a too-contrived monologue, the point is well taken, for each secret revealed adds another layer of punishment for all, even children.

If Redford weren't so wrapped up in nostalgia and stuck to the hard-core reasons for some very bright people's stupidity, this could have been a soaring achievement of documenting history in dramatic form. As it is, it's a smart thriller that has some lessons, both political and personal, for all the audience.