Les pleins pouvoirs

The Narrative.

A consistent plot involving many different types of characters in the form of organised professional robber Whitney (Marvellously portrayed by Eastwood) who is involved in a huge conspiracy involving the very uncomfortable president Hackman.

Perhaps the story gets too involved at points with a lack of realism. However the film is always tense and engaging, especially the beginning which was definitely one of my all time favourite openings to a crime film. Tense, exciting and with a few twists it presents a realistic view of a robber caught up in what will surely be a huge case.

The story justifies the genre by being focused upon murders and robberies and adds sentimental value in the form of family and friendship values. Laura Linney (The Truman Show) is terrific as Eastwood's daughter and adds a great sentimental value to a heavy crime film. She is involved in a great twists towards the end which is a must watch.

The ending surprised me. Although there were great twists, the final few scenes and the way the narrative came to never felt quite justified in my opinion but then again I may have been expecting too much from a film that was consistent and engaging from the beginning. The film is always kept exciting through the tense robbery scenes, character actions and a plot about a man and his power.

Direction.

Eastwood's direction is simply breathtaking. The opening sequence where he explores the neatly kept mansion for his robbery is the best moment in the entire film; I was literally on the edge of my seat. Dark, quiet and with a grace that any director would be proud of I held my breathe from start to finish. Heavy critics may argue it conforms too much to an action styled genre with many shots appearing focusing in or around the main priority but I appreciated it for what it was, which was sheer brilliance.

Eastwood is outstanding in the whole of this film. Not only his ability to pull off a stern ageing character but this direction is also worthy of huge praise.

watch it if...you enjoy the crime genre and appreciate tense dramatic sequences.

but its simply just worth watching for the beginning.

HIGHS--

A very fun plot. Gene Hackman could vilify Ghandi given the right lines. Clint Eastwood as a high-stakes jewel thief?? I'm in heaven. Soft, subtle score; typical of modern Eastwood films. Intense finale that has you rooting for the bad guys, or is it the good guys?? You decide. E. G. Marshall's version of a scorned billionaire is a wonderful turn.

LOWS--

I have not read Baldacci's novel this is based upon. But I have to think, Clint Eastwood was not who he had in mind for the elusive cat burglar Luther Whitney. That casting was probably a little too self-serving. Also, I did enjoy the plot. But maybe a touch of more believability would have been nice. The murder scene at the beginning, while necessary for the remainder, may be a touch too implausible for my taste.

PARTING IMPRESSION--

Solid entertainment. This rating denotes that. Sure, won't win any Oscars, but that's not why you really want to see a film like this. We all root for these high stakes take-the-money-and-run type finales and here we are satiated in the chicanery, the likes of which could only emanate from D.C. Seven out of ten.

Absolute Power may not be an overly special film but it was the first movie I saw in the cinema after leaving high school. I was certainly not the target audience but it had my attention from the first scene and maintained the suspense for the during of the running time, even if it doesn't build to much.

Clint Eastwood plays Luther Whitney, an expert thief who targets billionaire industrialist Walter Sullivan (grouchy old EG Marshall, in his last theatrical movie) while he is off on vacation. While in the midst of cleaning out the vault the President of the United States (Gene Hackman) enters the room with Sullivan's wife. Whitney hides in the vault, which has a two-way mirror, and witnesses the President get a little too rough with the woman, which ends in her fighting him off and being murdered by the secret service. The Chief of Staff concocts a plan to cover up the murder not knowing that Whitney is watching the whole thing. As the group leave he escapes, taking a crucial piece of evidence with him.

Initially unsure what to do, Whitney decides to taunt the President, though it's not clear what his complete plan is or even if he's just free-forming. If one should fault Absolute Power for any reason it's that it establishes a lot of plot and potential but never really does anything with it and ends with an anti-climactic cop-out.

Where it succeeds is with the small cast of characters who really make the dialogue and relationships work. Ed Harris as the confused but dedicated cop investigating the case, Laura Linney as Whitney's resentful daughter, and the austere Scott Glenn as the self-doubting agent make every scene effortless even when there's not much happening.

Adapted from (and streamlined and improved in the process) the bloated novel by David Baldacci (I call them 'Airport novels' – those 600-page bricks with generic covers featuring nothing but the title and author in giant gold letters in a tacky font) the screenplay makes many changes but they are all for the better. Eastwood's direction is slow and steady – or 'mature'. The pace and framing is the antidote for anyone bored to tears with the nauseating aesthetic of today's comic-book movies and CGI nightmares.

A curious thing about the beginning of the movie is that Clint Eastwood only has 2 lines of dialogue for the entire 35 minutes. I don't understand why he didn't cut them out and remain silent, which would give the film a peculiar edge.

What starts out with immense potential gradually evaporates into preposterousness in ABSOLUTE POWER. That doesn't make it an entirely bad picture, but it certainly puts a damper on what could have been. Clint Eastwood is an aging thief (he's been an aging something or other for his last 20 movies) who secretly witnesses President Gene Hackman get rough with his mistress. The encounter ends with her being shot by the Secret Service as she tries to defend herself, and the incident is promptly disguised to look like run-of-the-mill foul play. He may be on the outside of the law looking in, but Clint ain't about to let the powers that be get away with this one.

The opening 20 minutes of ABSOLUTE POWER are quite suspenseful, bordering on mesmerizing. There we are, trapped in a walk-in, two-way mirrored vault along with our pilfering hero, helpless to stop the horror unfolding just meters away. Eastwood may start out as the bad guy, but his status is quickly upgraded as he flees the scene holding what may be the only piece of evidence that can prove his astonishing observation. From then on we find ourselves rooting him on, even if he is in reality nothing more than the lesser of two evils.

What unravels ABSOLUTE POWER is its laziness and improbability. In an attempt to set up one stirring scene after another, the characters begin doing and saying things one would expect of a low-rate Jean-Claude Van Damme movie. A one-dimensionally evil Secret Service man surreptitiously hunkers down in a tall building trying to snipe Eastwood ala Lee Harvey Oswald. A police detective has no problem with Eastwood sneaking around his home at all hours of the night. A three-minute argument by Eastwood's thief is enough to convince the mistress's widower of the involvement of the most powerful man on earth. And to call the ending outlandish and unsatisfying would be a pair of understatements.

As well, though it's usually the other way around, ABSOLUTE POWER would have benefited from a longer running time. One comes away with the sense that Eastwood, who also directed, tried to cram too much into too little. The film certainly had the material to go longer, and its compactness gives the whole endeavor a choppy feel at times.

ABSOLUTE POWER is a film you really want to like. There is considerable talent involved here, and the movie's heart seems to be in the right place. But like that one photo we all have in our album, this one didn't turn out as good as we would have hoped.

Some actors, upon reaching their sixties or seventies, retire. Some enter into a sort of semi-retirement whereby they continue to accept cameo parts but not leading roles. Some, however, try and revisit the triumphs of their youth by making the same sort of films that they were making twenty or thirty years earlier. There are too many examples to list them all, but I was less than enthusiastic to note that Sylvester Stallone, at the age of sixty, has just made his sixth "Rocky" film and is currently working on his fourth "Rambo".

Clint Eastwood is a rare example of a star who managed to remain a leading man throughout his seventh and into his eighth decade, but did so without a desperate attempt to put the clock back. (Doubtless his status as a director and producer has given him a greater influence inside the industry than many of his contemporaries). In his early sixties he made "Unforgiven", one of the all-time great Westerns, in which he starred as an ageing gunfighter, and since then has made a number of other films, such as "The Bridges of Madison County" and "Million Dollar Baby", in which an older man takes centre stage. Occasionally his roles have contained elements of an old man's wishful thinking, such as his romance with Rene Russo in "In the Line of Fire", but even in that film his character's age was important to the plot.

"Absolute Power", made when Eastwood was sixty-seven, is another older man's film. His character, Luther Whitney, is a veteran burglar who has broken into the Washington mansion of an elderly millionaire named Walter Sullivan, where, from his hiding-place, he inadvertently witnesses a killing. Sullivan's young wife Christy enters the bedroom with her lover, who is none other than the President, Allen Richmond. What starts out as a consensual love-making session goes wrong when Richmond, clearly a lover of rough sex, starts slapping Christy. She takes exception to this and slaps him back. Things get out of hand, and she attempts to stab him with a letter-opener. Richmond calls for help and his Secret Service bodyguards burst into the room and open fire, killing Christy.

Some reviewers have described Christy's killing as "murder", but legally this is not correct. Had the two bodyguards ever stood trial for murder, they would have been acquitted as they were only carrying out their duty to protect the President's life, but things never get that far. Richmond is too shocked to take any action, but his Chief of Staff Gloria Russell, realising that if the truth ever came out it would destroy his career, organises a cover-up. When the President's staff realise that Luther was a witness to the killing, he is forced to go on the run.

This could have been the plot of a very mundane political thriller, but Eastwood, both as actor and director, is able to lift it above that level. Despite Luther's criminal tendencies, Eastwood is able to make him a sympathetic figure, a man with his own sense of decency and honour. He had the assistance of a very strong cast, featuring some of Hollywood's most accomplished actors. There is E.G. Marshall in his last feature film as Sullivan, Gene Hackman (always a very watchable villain) as the hypocritical Richmond, Judy Davis as Gloria and Ed Harris as the police chief who is investigating Christy's death and soon comes to realise that there is more to it than meets the eye. A particularly important role is played by the very talented Laura Linney as Luther's daughter Kate. She has become estranged from her father as she disapproves of his criminal lifestyle and now works as a criminal lawyer, prosecuting on behalf of the police. When she realises that her father is in danger, however, she comes to his assistance, and they start to rebuild their relationship.

The idea that their President might be a philanderer would have come as no surprise to most Americans in the mid-nineties, even though this film came out just before President Clinton was caught up in the Monica Lewinsky affair. Eastwood was not, however, interested in doing something along the lines of "Primary Colors" or "Wag the Dog"; there is no attempt to make Richmond a disguised portrait of Clinton, and we do not even learn if he is a Democrat or Republican. "Absolute Power" is intended as a thriller, not a satirical comedy. Nevertheless, it does tap into the feeling that many Americans have had, ever since the Watergate affair, that their Presidents cannot always be trusted to tell the truth. It is significant that the hero of this film is a burglar by trade; the implication is that such a man may be less of a crook than a politician. 7/10