Review: Changeling

Lost and Found

At the very start of this movie, you know that you're watching a Clint Eastwood film. It's not because of the stylistic choice to use the Universal Studios logo from the early era to put in front of the film. It's not because of the broad landscape that automatically transports us to 1920s Los Angeles. Not even the photographic picture that drenches the scene in a beautiful florescence as we've seen so many times before in Eastwood's films. No, it's the music. That simple, harmonic collection of notes that doesn't make you think of a great conductor standing in front of a huge orchestra, but more like a lonely guy fiddling around with instruments in his basement that tries to put a lot of heart and soul into whatever he's working on. It's an element Eastwood has maintained in all his films, and I certainly felt that continued presence in this one.

The film tells the true story of Christine Collins (Angelina Jolie), a working, single mother in 1928 who cares for her only son Walter. One day, upon Christine's return from work, she discovers Walter has disappeared. She tries to work frantically with the LAPD in trying to find out where her son is. Finally, Captain Jones (Jeffery Donovan) comes to tell her that they've found him and he is alive. But the boy they bring back is not her son, Christine claims. She begins her own investigation, with the aid of prolific reverend (John Malkovich) to help bring down the LAPD. In an attempt to stop further embarrassment, the cops lock Christine up in a mental institution until she admits her "wrongs."

Eastwood is a master story teller, and while this particular film may not be on the same level as Unforgiven, Million Dollar Baby or Letters from Iwo Jima, it is still a finely crafted film. He has always been able to step back and let the scenery and actors serve as a guide to the mining out the greatness of a film, and it's an effort I've always liked. The script does feel a little heavy handed in its plot sometimes, and causes the film to run on a little long, but it scratches at surfaces that are essentially important. Another Eastwood film, Flags of Our Fathers, suffered from the story attempting to tackle on many elements that couldn't be contained within the frame of the film. Changeling does meander a bit, and at times wants to become a study on the treatment of mental patients and then an opinionated court room drama. However, unlike Flags, we are constantly given a reminder of the context of these sidesteps and it helps to justify the problem.

Jolie has always been a good actress, but people seem to forget that because she's a big movie star. We had further evidence of her talent last year in A Mighty Heart, a performance that was criminally overlooked at last year's Oscars. That performance was much more nuanced and layered. Here is a greater showcase of tears and shouting, but it's a bravado performance nonetheless. Second to her, I'd say a really great actor is Donovan. His character of the Captain must walk a fine line that dangles above the reasons of morality. You never get the sense that he's all bad, but you see how he acts the way he does because he's obligated to do so towards an institution he respects. As much as I like Malkovich, he never seems natural on film. He always takes that stage acting with him wherever he goes, and so his character feels less like a reverend but instead a John Malkovich interpretation of a reverend. It was also a bit strange to see him dig up his own sort of police force, as if someone like Malkovich could be that intimidating.

The movie isn't without its flaws, but there is still a great appreciation for this film. Guided by great performances and the master Eastwood, the movie is an emotional tale that serves to involve all. It will be interesting to see how this plays out, but with Eastwood releasing Gran Torino later this year, I think we'll realize that he should never exchange his great work for retirement. ***1/2 / ****; GRADE: B+