अ परफेक्ट वर्ल्ड

Clint Eastwood is an outstanding Director. He directs A Perfect World masterly and we really feel en emotional involvement with the characters and the story.

T.J. Lowther is fantastic as the boy kidnapped by Butch (Kevin Costner), and it is great to see an unlikely friendship develop between the two despite their huge difference in background and age. Costner becomes almost like a father figure for Buzz, and the ending is slightly overdrawn and predictable, but is nonetheless deeply saddening.

Costner gives a great performance as the escaped convict, and despite his homicidal tendencies, we actually feel empathy towards him at some points of the film and feel that he is actually a casualty of bad circumstances rather than a blood thirsty killer.

Eastwood himself plays a reliable part as Chief Red Garnett, but he is very much in the background and he plays a bit-part character as he tries to track down Costner.

I am a big fan of Clint Eastwood both as a Director and actor. If you want to watch a film that really engages you in watching character development and does not focus on action, then this is a must-see.

Some aspects of this film work better than others, but overall A PERFECT WORLD is a highly watchable film. Kevin Costner delivers a fine performance as escaped convict Butch Haynes. The film primarily focuses on the relationship between Haynes and an innocent 8 year old boy named Phillip whom he kidnaps and befriends (well played by TJ Lowther). Haynes has killed two people thus far and gives the impression of a being a loose cannon, but Eastwood evokes sympathy for the character as the audience learns about Haynes troubled childhood (raised without a father by a prostitute mother - killed a man by the age of 8) and observe his genuine care and concern for the boy. Their relationship is reminiscent of Allan Ladd and the young boy in SHANE. As he slowly feeds us more information about Hayne's history, and lets the audience wrestle with its ambivalent feelings towards Costner's character, Eastwood keeps the film moving with lots of close brushes with the law, car chases and shoot'em ups.

Where the film doesn't work quite is when Eastwood himself is in front of the camera, playing a minor role - Chief Red Garnett - a Texas Ranger who's in charge of Haynes' capture. The primary function of his character, and Laura Dern's (who plays Sally Gerber - a criminologist the Governor forces upon the Chief) in the script is to supply further information about Haynes' past. Unfortunately, Eastwood tries to flesh out the relationship between these characters through antagonistic chauvinist attitudes towards Gerber and creating a power struggle between the two which (big surprise!) over the course of the film, gradually leads to a mutual respect between them! Granted Eastwood and Dern have marquee value - especially Eastwood, are fine in their roles, and, of course, chauvinism was alive and well in 1960's Texas, but I mostly found these minor subplots annoying and unnecessary. It's the scenes and issues focusing on Costner's character that are the life blood of this picture. This criticism aside, Eastwood does a solid job directing, weaving action, suspense and thought provoking human drama into a well knit weave and Costner delivers one of the best acting performances of his career.

7 1/2 out of 10

An intelligent and resourceful prison escapee named Butch Haynes (Kevin Costner) takes an eight-year-old boy (T.J. Lowther) hostage, as Haynes roams across Texas in the early 1960s. Meanwhile, the authorities, headed by a Texas Ranger (Clint Eastwood), set out to capture Haynes, in an Airstream trailer.

Costner does a fine job as Haynes, an interesting character who happens to like waltz music. Lowther is equally good in his role, a boy who comes from a family whose religious beliefs are quite strict. On their sojourn, the boy acquires, and sometimes wears, a Casper-the-friendly-ghost mask, a symbol of childhood innocence that contrasts nicely with the seriousness of a dangerous hostage situation.

The relationship between Haynes and the kid evolves into a kind of father-son union, wherein Haynes does most of the talking, and the kid reacts, usually with clever, nonverbal expressions. It's a good acting arrangement that plays up the strengths of both actors. It's the best element of the film.

Throughout their odyssey, a collection of oldies pop songs helps to capture the early 1960's era, though I could have wished that the volume had been turned up. Haynes' goal is Alaska, but he doesn't quite get there, and the film ends much more interestingly than it began.

The main problem with the film is the plot. It gets off to a hokey, contrived start. And, throughout the film, the law enforcement component does not work at all. It comes across as stereotyped, irritating, unnecessary, and it is not funny despite attempts to make it funny. You get the feeling you're watching reruns of "The Dukes Of Hazard", especially with that corny trailer.

Even so, the film is worth watching, for the acting accomplishments of Costner and Lowther, and for the interesting dialogue that takes place between their two characters.

Kevin Costner's career has been in a downward spiral (to say the least) over recent years. Now it seems like even people who admired him at first are suddenly forfeiting their compliments and jumping on the bandwagon, along with the rest of the Costner haters. Well, I'm not gonna jump on that bandwagon. This movie is sheer proof that Costner is a wonderful actor capable of playing characters of multiple dimensions. Here, he's given the challenge of playing a likable villain, without having us forget that he has criminal tendencies. I'm not condoning criminals, but do you honestly think every criminal in the world is a cold-blooded motherf***er with not a single scruple? They're human beings like everyone else, only they choose to live dishonest lives. In other words, the easy way out--at least that's what they think.

Costner played a completely one-dimensional villain in "3,000 Miles to Graceland," but it was fitting to the tone of that film, which plays out like a comic book fantasy. His character of Butch is much more realistic, and his main scruple is treating children like dirt. He himself was treated like dirt as a child, and whenever he sees mothers or fathers do the same to their children, he goes nuts and sometimes homicidal. A very interesting character, which Costner plays to absolute perfection.

I have a theory about movies. Whenever you have an adult story (excluding children's and family-oriented material) involving a child in a major role, the movie often turns out either good or great. This one turned out great. Good movies come more often than you think. Great movies don't come quite that often. A real motion picture experience is when you get lost in the story to the point where you feel you're right there with the characters, and not sitting on your couch watching these characters on a TV screen. This is one of those experiences.

The film is totally character-driven, which also appeals to me. It took me a journey through the lives of Butch and the young boy. I felt a deep connection to each of them. The ending had me pouring with tears.

I have to give it up for Clint Eastwood, who usually scores behind and in front of the camera. The film runs a little over 2 hours, but when you have solid characters like these the time flies by in a snap. Hell, "Corky Romano" was under 90 minutes long and I may as well as have been watching it for 10 hours. The most powerful scene, in my opinion, is when Butch and the boy stay over the home of the black slave. Butch sees the way the father physically abuses his son, and goes to the extent of tying him down to a couch. He then forces the father to say "I love you" to his son, like he really means it.

"A Perfect World" is a film I'll never forget, and I'm so damn glad I spent my 14.99 to purchase the DVD. I have only one very minor complaint: the guy who plays Philip overacts like crazy in a cartoonish performance.

My score: 9 (out of 10)

In 1952, Charles Crichton had produced a successful suspenseful movie with a derivative premise: a man (an excellent Dirk Bogarde) compelled to take a brat hostage with him because he was the witness of his murder and to flee with him across Britain to escape the police. This journey had brought the two runaways together and Bogarde eventually felt real love and care for his young hostage. Crichton (I find it hard to believe that it's the same man who 36 years later will cook "a Fish Called Wanda", 1988!) had construed his topic with a lot of reserve and sensitivity which bestowed his wonderful piece of work with pathos and tenderness.

40 years later, Clint Eastwood, freshly showered with praise for his dusky "Unforgiven" (1992) takes back this formula for a flick which basically was to be directed by Steven Spielberg but the latter had a lot to do with "Schindler's List" (1994), probably his finest moment. The amount was "a Perfect World" (1993) and it deserves better than the lukewarm reviews it received and stands as a winner in Eastwood's eclectic filmography. In spite of a few installments in its second part that one can deem as overlong, it has enough commendable stuff to grab the audience.

First, Eastwood's vehicle is helped by the work of John Lee Hancock who 4 years later will pen the scenario for another Eastwood flick: "Midnight in the Garden of Good and Evil" (1997). Because it eschews the formulaic ingredients of the movie genre, "a Perfect World" deals with and it encompasses various tones: from the droll moments Kevin Costner goes through with his young hostage to gripping scenes which incommodes the audience (the scene when Costner holds the black family in their living room with a song he hadn't heard for years), the script takes the viewer by surprise. It's true that suspense takes a back seat during most of the viewing but Eastwood's flick has other stuff in store. In the favorable reviews, it has been said that the relationships between Costner and his young partner were highly interesting. From their first confrontation, Costner has an evident interest in the little boy, a nagging curiosity that will grow throughout his run. In this way, his attitude, at least in the outset of the film is quite different from Bogarde's. The latter realizing that he has no other choice to take his brat with him expresses at first hostility and scorn before starting to get interested in him. Not Costner who is clearly interested with his hostage from the outset and for whom he feels affection. In the two flicks, the little boys may see in Bogarde and Costner the father figures they never had. Their households are characterized by an absence of father. As for Costner, he unveils to his partner, scraps of his anterior life which might explain one of his attitudes towards him. Maybe, he tries to play his role of father and this way to get close to him: "we have a lot of things in common you and me: we love Coke, we never had father". He wants to make him discover a new life, a freer and more maverick one in which anything goes (he asks him to write the things he craves to do).

Nature plays a momentum role in "a Perfect World": it surrounds the characters and is of a vivacious green which symbolizes bliss and hope. In this perfect world, the two main protagonists try to search for support, friendship, bliss but impending danger waits around the corner.

Eastwood's flick was also decried because the other sequences of the film in which Eastwood and his crew appear were rather weak. I don't think so. True the character of Laura Dern is a little formulaic but in one sequence the most important members offer their vision of a perfect world. And even if here he doesn't hold the main role, Clint Eastwood has a prime secondary part. The cast is a major asset of the film. The little boy is directed with care and respect and Eastwood gave Costner his last great hour, given the duds in which he acted afterward: the horrible "Waterworld" (1995), a waste of money and time and the insipid "Postman" (1997).

Coming after a pinnacle in his career, "Unforgiven", I feel that Eastwood wasn't hampered by this critical and commercial triumph and broke new ground in the fugitive movie with this startling piece of work. Give this movie a chance. It deserves it. And if you have the chance to see "Hunted", don't think twice. Eastwood's flick compares favorably with its 40 year old model. And after the projection, try to ask yourself this question: what is a perfect world?