Wednesday, March 10, 2010

"Shutter Island" is a master's journey into the human psyche (4.5/5)


Even though it's only March, I'm already willing to say that 'Shutter Island' will make my final top ten list for the year. Of course I still resign to the fact that it may not make the list, but the film moved me so much and terrified me beyond my wits, that I really feel it's going to be hard for any other 2010 film to match the power this film possesses. It's frightening, taut, visually stunning, and ultimately haunting. Is there a twist? Yes, and my guess is some of you will guess what it is about halfway through, but knowing the twist doesn't ruin the film. I say this because if any film has to hinge on some sort of twist, then the film is probably not good. If a film can move you and have you hooked even when the twist is known, then you know you're dealing with a great film. I'll admit that going into the film, I knew what the twist was. After the film was pushed back from October to February, I became curious and looked up the ending. So, initially I felt that my lack of discipline would lead to a diminished expectation of the film. I was wrong and although I knew the twist, leading up to it and after it, the film hooked me regardless and ultimately created a context for the reveal that moved me in a way that I didn't expect.

Furthermore, the twist itself takes on a whole new meaning when one takes the context and looks back at the film as a whole. But, let's delve into the film as a whole. The film tells the tale of U.S. Marshal Teddy Daniels (Leonardo DiCaprio), who with his newly assigned partner Chuck Aule (Mark Ruffalo), enters the remote island known as Shutter Island. This particular piece of land is special due to the fact that it's the home of a major psych ward, one that houses some of the most violent and disturbed patients known to man. The whole point of Chuck and Teddy going to such a location is to track down a patient who escaped, one who was found to have murdered her children and husband. Upon their arrival, the team of Teddy and Chuck are not only after a suspected murderer, but also are suspicious of the ward's employees and its leader Dr. Cawley (Ben Kingsley). When coupled with a freak hurricane that threatens the island, it's obvious that suspicion and paranoia overcome Teddy and Chuck. From this comes dark turns, vicious acts of violence, and ultimately a cold, cold truth. Yet, the one hit the hardest by the strange musings of the island is Teddy, a World War II vet with a dark past whose perception of reality is being challenged with every moment he's on the island.

With this in mind, it would come as no surprise that Teddy becomes a man unhinged. The screenplay does a terrific job capturing the downfall of this man's psyche, but it's Leonardo DiCaprio who truly brings Teddy to life in what should be an Oscar nominated performance. It's Leo's performance that is the crux of the film as he physically and emotionally gets us invested in his character to the point that we feel the sweat dripping from his brow, we feel his suspicion, and ultimately the pain and anguish that resides deep in his soul. It's truly a towering, dark, and captivating performance. The same could be said for the supporting cast from Mark Ruffalo to Kingsley to Michelle Williams, who plays Teddy's deceased wife, all of them fill the film with powerful and layered performances. Never does the cast tip the film's hand too much; they always leave you questioning the motivations and intentions of their respected characters. Of course, this is typical of a Scorsese film as he always gets phenomenal performances from his actors. Yet, even though the level of acting is a tried and true trademark of a Scorsese film, I must say that aside from that and a few shots at the beginning of the film, "Shutter Island" doesn't feel like a Scorsese film. It feels like an entirely different person dove into this material.

Certainly the shots aren't the same as a regular Scorsese picture, unless of course you want to compare it to his remake of "Cape Fear" which has similar shots, but aside from that, this looks and feels like nothing Scorsese has ever done. This especially includes the visual prowess the film possesses. Scorsese's films generally have a stylistic appeal to them, but here, with the work of cinematographer Robert Richardson, Scorsese has created his most visually arresting film. One that is dark, haunting, and gothically beautiful. In addition to Scorsese seemingly losing himself in the film, another aspect I found so endearing was Scorsese's playfulness with his narrative. More specifically, the editing found within the film. When watching the film I noticed there were a few continuity issues with shots, dialogue, and overall body positioning. Full well knowing that this film was edited by Thelma Schoonmaker, Scorsese's long time collaborator and an Oscar winning editor, slowly I began to realize that these hiccups in editing was merely Scorsese and Schoonmaker being playful and fully enveloping the audience in the fragmented reality of Teddy. This is not only a prime example of how Scorsese stepped outside his usual work, but also added another layer of enjoyment to the film, and it was for this reason that I came to truly love this movie. Yes, the acting and screenplay are terrific, but it's Scorcese's inability to be 'Scorsese' that really made the film standout to me. Nothing beats a director reinventing himself, if only for one film, and succeeding in almost every aspect.



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