Sous surveillance

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.

"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.

Robert Redford stars with a wonderful cast of golden oldies in "The Company You Keep," a 2012 film.

Redford plays Jim Grant, an attorney and widower, who is contacted by a friend to help a former activist (Susan Sarandon). Now a housewife, she has just been arrested for the murder of a bank guard during a robbery many years earlier. At that time, she was a member of the notorious underground Weathermen group, which protested the Vietnam war, the killings at Kent State, and were part of the violence and chaos of the time. She was intending to turn herself in, but the FBI got to her first.

Grant says he can't help, but that puts an ambitious reporter, Ben Shepard (Shia LeBoeuf) onto him. It doesn't take long for Shepard to find out that Jim Grant is in reality Nick Sloan, part of the Weathermen, who has changed his identity. Grant/Sloan goes on the run, leaving his 11-year-old daughter with his brother (Chris Cooper). This tells the reporter that Sloan is not intending to go underground and take on a new identity, or he would have taken his daughter. Shepard thinks that Sloan is thing to clear his name once and for all, and is trying to locate other Weathermen in order to help him.

The cast includes, besides those listed above, Julie Christie, Stanley Tucci, Sam Elliot, Nick Nolte, and Brit Marling.

I had two major problems with this film, which was actually good if not terribly suspenseful. The first is, I was around during the era talked about in the film; and the second thing is, I remember what Robert Redford used to look like.

This film I believe is supposed to take place in the present day, yet everyone talks about these events that occurred "thirty years ago." Well, not to be picky, but "thirty years ago" is what, 1981, since the film was made in 2011. Youthful uprisings, protests against Vietnam, the Kent State killings -- I'm sorry, those happened 40-45 years ago. What happened thirty years ago? Dynasty. Ebony and Ivory. Diana and Charles got engaged. Reagan.

The second issue I had is this: Susan Sarandon, Richard Jenkins, and Stephen Root were the right age to play aging hippies (so is Chris Cooper but he didn't play one); Christie I could buy - first of all, she's fabulously beautiful and doesn't look her age - and secondly, her character was a Jane Fonda type, so she would have been active in her early thirties, as the character still was an activist. Nick Nolte - I'm not totally convinced that his character was an activist in his late twenties and thirties.

But Robert Redford is 76. Now, I've read where people think he looks good. I think he looks every millisecond of 76. He's obviously supposed to be playing someone 10 years younger, and to me, he doesn't pull it off. And the 11-year-old daughter - I find that interesting. They cast women as mothers who in real life are one year older than the person playing their sons, but no one blinks when Redford or Eastwood have children under ten.

Unfortunately, those distractions took away from this film for me. If I hadn't lived through that time, I could have gotten into it more. I admire Robert Redford, I like that he does this type of film, but he needs a small reality check. He wasn't a hippie then, and he's not an aging hippie now.

The Company You Keep has a startlingly star-studded cast and I was surprised to see that most of them were in small, thankless roles. People like Sam Elliott, Nick Nolte, Chris Cooper and Stanley Tucci have a couple, three scenes at most and aren't given much of anything to sink their teeth into. What I think this suggests is an immense respect for Robert Redford - there are very few directors who could assemble actors of that caliber for roles that probably anyone could play. And that respect is merited - with Company, Redford proves once again that he is an exceptionally talented director who deserves to be taken more seriously than he is.

It begins with the abrupt arrest of Sharon Solarz (Susan Sarandon), an American terrorist who had been living in hiding for decades since she was connected to a robbery that resulted in the murder of a security guard. Her arrest sparks renewed interest in the case and as a reporter (Shia LaBeouf) starts to dig deeper, a lawyer and newly single father (Robert Redford) realizes he is about to be uncovered and flees, leaving his daughter to stay with his younger brother (Chris Cooper) while he searches for an unknown something.

The foundation of Company is a clever, taut screenplay reminiscent of classic 70's American thrillers. It shocks the audience with reveal after reveal, always bringing up more questions and arousing more suspicions, but does so without a hint of self-importance and gracefully avoids inflated tension. Redford's graceful direction brings the electric writing to life and creates a suitably foreboding atmosphere - it's gritty, but not too dark; fast-paced, but not so much that it sacrifices plot or character; emotional, but not saccharine. For such an outlandish plot, Redford makes it feel as real as it possibly could. Too many modern thrillers like this try to make every beat into a high emotion scene, or build around the twist so it's as dramatic as possibly. Company avoids that - there is a refreshing lack of forced grandeur, and in its wake we get a surprisingly intimate film filled with truly fascinating characters and provocative moral questions that the screenplay doesn't answer for us.

The cast, as expected, are uniformly excellent. If there is a weak link it's Shia LeBeouf, whose real-life smug vanity suits the character but can only carry him so far when he's up against acting titans. He seems amateurish in his one-on-one scenes with Redford and Sarandon even though neither of them give especially domineering performances. Redford is an appropriately sympathetic lead but the supporting actors steal the movie - Susan Sarandon sets the bar very high right from the off. In her two or three short scenes, she reveals everything about her secretive, stony character; her microexpressions tell all. Cooper, Nick Nolte, Sam Elliott and Richard Jenkins light up their segments with their presences alone, while Brendan Gleeson delivers a hauntingly conflicted portrayal.

Julie Christie, though, is the standout. If this has to be her last screen appearance, it's comforting to know that she went out with a loud bang, playing a character so unlike anything she's ever done before. Her Mimi is ferocious and spirited, but her steely conviction can't quite mask the naive little girl who never really grew up hiding underneath. She communicates a world of internal conflict with a simple raise of her eyebrows, a pang of regret merely by letting her mouth fall open; she's a master of her craft, fully realizing her character in maybe 15 minutes of screen time where most of her lines hit the same note.

If there's one problem with the movie, it's that it's too short. A significant plot point towards the end isn't given the time and attention it deserves, considering its weight and implications. It felt like a wasted opportunity for an amazing, thematically fathoms-deep ending. However, the ending as it is is satisfying and well-done nonetheless, and cleanly wraps up an expertly crafted breath of fresh air for the genre. If only it had come out 35 years ago where it would have been right at home and probably would have garnered a better reception.

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.