O Bom Pastor

After enduring trailer after trailer with endless stings of explosions, ridiculous CG-assisted stunts and mindless action, I felt very rewarded with an intelligent and intriguing film that defies the status quo of bigger and louder is better.

The Good Sheperd doesn't insult your intelligence, it stimulates it, sometimes confuses it, and forces you to look several layers beneath the surface. It feels like a throwback to another era of films when the complexity of a character was of greater importance than spectacle.

De Niro took a page from his producer's best work, Francis Ford Coppola, emulating films like The Godfather, The Conversation and Apacalypse Now. The drama rises not from the usual blatant conventional devices but rather by raising questions because of what we're not told and not shown. It requires a great deal of courage to use this style as films have gravitated more and more toward assuming the average moviegoer is of substandard intelligence. The scope of the film is enormous, yet the point of view is narrowly focused to be seen through the eyes of one man. There are a dozen of subplots, but all are carefully tied into the through-line of the story to match the main character's progression.

The film may require some understanding of American history from WWII through the Kennedy administration. It starts with the later years of the story, The Bay of Pigs debacle, and traces the steps that lead to it, one of the more embarrassing moments in the history of U.S. foreign policy. I found it a bit annoying that Matt Damon's character, Edward Wilson, barely seemed to age in the film while others around him did (the best way to determine his age is whether he's wearing wire-rimmed or horn-rimmed glasses), but it didn't ruin the film for me.

Overall though, definitely one of the best films of 2006. A rare film that makes you want to think and understand, rather than forget.

The Good Shepherd 3.5/4 4/5

The Good Shepherd is an incredibly complex work and one of the finest films of a quality ripe 2006. Oscar winner Eric Roth continues his brilliant work with this original screenplay, named one of the best unproduced scripts in Hollywood in the late 90's. A film about one of the CIA's founding officers isn't a dream project commercially for a studio but thankfully, the quality of the script was too great to ignore.

Shepherd follows the life of Edward Wilson (Damon) through his college years at Yale to his ascension as one of the CIA's founding officers and trusted veterans. His extraordinary dedication to his work comes with an unbearable price as he must sacrifice his family to protect his country. At one point in the film, Wilson faces an enormous choice- does he abandon his ideals for what he believes is right? Would this abandonment render his life, almost solely devoted to his country, meaningless? This, as well as a depiction of the result of Wilson's decision, are just two of the moments of brilliance in The Good Shepherd.

Wilson inhabits a world of betrayal and secrecies only enhancing the irony of the biblical quote inscribed on the CIA's wall- "And ye shall know the truth and the truth shall make you free". While we are given a glimpse into the life of a younger, more vital Wilson, the world he occupies creates the characteristically stolid, humorless man we come to know.

With its vast emotional core, the film seemingly effortlessly navigates one of the most volatile periods in the history of American intelligence while remaining character based. At 165 minutes, it is overlong but remains engaging for the vast majority of its running time. Had a few relatively insignificant scenes been cut, Shepherd could have retained the thrilling and energetic pace it often possesses. However, the length is justifiable as the scope of the film is incredibly large and very few scenes can be deemed unnecessary or dull.

Robert DeNiro's direction far exceeds that in his debut, 1993's "A Bronx Tale". Normally portrayed as a brute, here, DeNiro assuredly handles every moment with an innate tenderness we rarely see in his work. He appropriately treats Shepherd with a precise attention to detail often attributed to some of the greatest directors of our time.

A silently haunting Matt Damon carries the film on his shoulders. Edward Wilson is completely introverted and while Damon internalizes his thoughts, some of the films greatest moments are when emotion unknowingly pours out of Wilson through a mere flicker in his eyes. Angelina Jolie and Michael Gambon deliver very strong turns amidst a one of a kind cast topped off by the return of Joe Pesci, whose last acting stint was 1998's "Lethal Weapon 4".

The Good Shepherd is a film that demands to be seen. It is surprisingly apolitical as Wilson's life and its disintegration are the true story of this epic. While some call it "unsentimental", exactly the opposite is true. It is a testament to Roth's script that a film with such an introverted protagonist provides such a visceral, affecting experience. Shepherd is an intelligent, poignant look at the cost of blind dedication and constant secrecy. The effect this has on Wilson's life is irrevocable as we are taken on a remarkable cinematic journey, one that should be remembered as one of 06's greatest.

Before I go on to praise the good points of THE GOOD SHEPHERD, I should mention at the start that the film badly needed some judicious editing. There are many scenes that go on for too long a time and are badly in need of some artful editing to get the point across just as well.

Aside from length, everything else about the film is on the plus side--the handsome cinematography, the vast amount of settings, the background score that adds to the drama, and the performances of the entire cast which are uniformly good. I'm not a great admirer of ANGELINA JOLIE as an actress, but here I think she demonstrated skill at suggesting the loneliness, frustrations and jealousies of a woman whose life has to remain outside the boundaries of her husband's job with the CIA. Through a series of detailed vignettes, the murky world of an agent's life of deception within the government is sharply observed.

More of a character study of Edward Wilson (played in stolid, very serious fashion by MATT DAMON) than a straightforward spy yarn, it manages to hold the interest even though it uses the flashback method of storytelling that is apt to confuse a viewer if it isn't done well. But here again, there is a flaw--it covers a span of twenty or more years but the aging of the central character is never quite convincing enough. Damon never looks that much older than his grown son--whereas a few gray hairs might have helped considerably. As his grown son, EDDIE REDMAYNE does reasonably well as the man seeking his father's approval.

As for the supporting players in this story about one man's experiences in the newly developing CIA, JOHN TURTURRO does an outstanding job as a tough inquisitor and MICHAEL GAMBON is outstanding as a security risk with homosexual tendencies. ALEC BALDWIN has little to do but is intense enough as one of the agency's top men and others in the cast maintain credibility all the way through.

The story itself is rather problematic in that nothing is what it seems and not all the information is readily given to the viewer in a way that makes sense. This is partly the fault of the script and partly the fault of director Robert De Niro who also assumes a small role effectively.

But still, despite the handicap of being too long (and a bit too involved at certain points), it makes for fascinating viewing and is the kind of film you dare not divert your attention from for a moment. If you do, you are liable to miss an essential plot point.

Summing up: Highly recommended for anyone with a keen interest in espionage dramas.

It starts on April 16, 1961. Edward Wilson (Matt Damon) is a top American spy. When the Bay of Pigs don't go well, everybody is suspicious of a leak. Then it flashes back to 1939 Yale University. He is a student and recruited by Bill Sullivan (Robert De Niro) to spy on a professor with German ties. He is forced into a shotgun wedding with Margaret (Angelina Jolie). The war starts and he goes to Britain working for the fledging American spy agency. He would become one of the best at counter-intelligence but his family life suffers tremendously with his wife and son (Eddie Redmayne).

As far as I'm concern, director Robert De Niro is 2 for 2 so far. Matt Damon puts in a deadly quiet performance. This is no Bond movie. There are no flashy gadgets and movie contraptions. This feels like the real thing. A spy would obviously not talk about spy stuff. The internalization and the paranoia seems to hit the right notes. The family dysfunction follows logically. I guess people who want the excitement will have trouble with the quietness. I personally found it intriguing.

Speaking as a viewer who had been eagerly anticipating the release of this movie since way back in the days when Leonardo DiCaprio was attached to star, I can honestly say I was very disappointed in the final outcome. Perhaps the film had simply become too hyped, with everyone proudly boasting it as "De Niro's comeback", but... suffice to say, no matter how hard I tried to enjoy this movie, it completely failed to entice me in any way, shape or form.

Director Robert De Niro tries a bold new touch by attempting a "CIA feel" for the film, in the sense that an element of mystery is present throughout the entire plot, attempting to better immerse us in the world of lies, deception and uncertainty that was the early CIA. Unfortunately, this method backfires very noticeably, as the plot seems to weave all over the place and we are presented with flat, uninteresting characters who are denied the further development or screen time which might actually have made them appealing. We are simply presented with a slew of famous faces in tiny roles, appearing and disappearing so quickly we barely have the chance to register their presence, but there is no connection with the characters, nor the long, overly confusing convoluted plot they play a part in.

But the film's real weakness is the apathy factor. In a recent interview, De Niro acknowledged his intent that the plot should be more elusive and less obvious, to make the viewer work harder and appreciate the film further. He then proceeded to mention how viewers should be emotionally affected and connect with the characters, even if the plot may not always be clear, and we may not always what's going on, or who's killing who, or why. This is where De Niro's film really loses its viewers; the fact that not only is there not enough emotional connection to coast by, ignoring a lack of plot continuity, but the fact that there is no emotional connection whatsoever. Not only do we not know what is going on, nor are able to keep up fast enough to catch onto what few plot clues we may, but we can't invest enough interest into the film to do so. After a few scenes of brief, murky, unexplained and unrelated plot excerpts and confusing flashbacks from present to past times (made more difficult by the fact that James Wilson, Matt Damon's character never seems to age, and appears the same even 20 years later) we lose interest entirely, and find ourselves unable to care for the characters, nor care what is happening. We are kept at such a distance, both through an intentionally unclear plot and by uninteresting flat archetypes of characters that any interest we might originally have retained in the film quickly evaporates.

It's a shame that the film is so emotionally distancing though, as on the exterior it does appear to be a very stylish and classy piece of work. The cinematography is superb, capturing many unique, innovative shots and scenes, and the costume and set design are simply sumptuous, perfectly capturing the feel of the time period in a glossy, picturesque fashion. It is a shame how fully the apathy factor permeates the film though, because Eric Roth's script seems to be terse, tight, and engaging, but many lines are inaudible through muttering or fast speaking characters, and we are simply kept at such an emotional distance it is beyond us to make an effort to follow the rapid fire, confusing exchanges. We want to like the script, but it is so twisty and clouded with uncertainty, much like a CIA document itself, that we find ourselves also left in the dark.

De Niro has assembled a stellar cast here, but he seems content to reduce most of them to very un-flashy cameos, giving us little chance to connect with any of the characters. Matt Damon is an effective figure as the film's star, James Wilson, remaining admirably cold, detached and stoic throughout the film, but the plot backfires once again - a lead character who is meant to be, all pretenses aside, boring, still comes across as boring, no matter how strongly they are played. Angelina Jolie seems a bit out of place as Wilson's spunky yet abandoned wife; she plays the part well enough, but fails to submerge her star power and charisma in a role where a much less noticeable and subdued female lead would've been far more effective. John Turturro stands out as a vicious CIA interrogator, one of the few flashes of emotion or engaging character action in the entire film, and Joe Pesci makes good use of his far too brief cameo as a mob boss. There are also noteworthy appearances by Michael Gambon, Billy Crudup, Alec Baldwin, William Hurt, Tammy Blanchard and Timothy Hutton, but their parts are reduced to far too brief and uninteresting segments for us to really connect with or care about their characters. De Niro himself almost steals the show with a tiny role as a military general who constantly complains about his feet.

All in all, the Good Shepherd comes across as a tremendous disappointment, considering the incredibly successful film it was poised to be. Maybe I had too many expectations, having looked forward to the movie for so long, or maybe the film was overly hyped, but either way, the film falls flat as far too long, self indulgent, emotionally distancing and just plain uninteresting, wrapped together in a bundle of self-imposed apathy. All except for fans of Robert De Niro or the rest of the cast willing to sit through an extremely long and un-engaging movie should give this one a pass, lest De Niro's self confidence be flattened forever.

-6/10