Gone Baby Gone, review
Ben Affleck’s directorial debut might be nearing the ten year mark, but does that diminish the power and effecting ability as a director the actor holds over his audience with his kidnapping thriller Gone Baby Gone? Although this might be a rhetorical question, in an attempt to swiftly get ones point across, the answer would be no. Stylish in ways, underplayed in others, and with a narrative and lead performance that genuinely stays with you following the end scene, Affleck’s mastery behind the camera is seen so prominently with Gone Baby Gone
, and that mastery continued with Argo and The Town – both of which were met with acclaim.
Its not Ben we see as lead protagonist here though, it’s his brother Casey. Younger in years, yes, but lesser in talent? Not a chance. Casey is so believable in his role as PI Patrick Kenzie that the word method springs to mind and his identity as a real person is never questioned during the entire run-time. This won’t be an overly-long big-up of this fantastic film, for many of you will have already seen it – and therefore know its worth. What this will be, is a nod to a daring, intelligent and thought-provoking feature full of striking performances both in front of – and behind – the camera.
Gone Baby Gone is a straight adaptation from Mystic River and Shutter Island author Dennis Lehane’s novel of the same name. Centering on two PI’s, Affleck’s Kenzie and Michelle Monaghan’s Angie Genaro, the narrative combines two stories of abduction that opens up a dark and murky underworld of police corruption and, more interestingly, the conscience that comes with right and wrong. Its not always an easy watch – in fact for the latter half, it really isn’t – but if you can overcome the difficulties of a narrative that deals with missing children, drug dealers and pedophiles, you will appreciate the starkness and originality – and importance – of Affleck’s feature.
In dealing with such an intense narrative, you need fierce performances. Affleck demands that from his cast, and they in return deliver. Morgan Freeman, Ed Harris and Amy Ryan support, the latter received an Oscar nod for her role as the drugged-up, alcohol-fueled mother of missing child Amanda and she certainly deserved it after creating a character who spectators both sympathise with and loath in equal measure. The ensemble are strong, and as a viewer you can never be sure who to trust – which is always refreshing amongst a flock of new releases each year that are quite predictable.
The shining star, though, is Casey Affleck. He teems with realistic emotion and heart, he is truly likeable, and he portrays an everyman – from a rough neighborhood, yet he’s worked hard to produce a successful career for himself. Kenzie is the man in the middle, connecting the residents of Dorchester, Boston, to the middle-class cops who lead the case. The underlying message seems to round out to a questionable upper-class society, and an almost forgotten lower-class who are made up of criminals and addicts, along with their neglected children.
Perhaps a little pretentious in length, but basically perfect in every other aspect, Gone Baby Gone is no doubt the Affleck brothers own gem – and a gem for critics and audiences alike.