Gone Baby Gone, But Not Forgotten
Wicked Good Plot Drives the Affleck Brothers' Boston-Based Film
"Gone Baby Gone," Ben Affleck's directorial debut, showcases strong performances and contains enough plot twists to induce vertigo, yet it still falls short of greatness.
While no one would doubt the Afflecks' devotion to their hometown of Boston, Gone Baby Gone sure doesn't paint Beantown in the most flattering light. The Boston these characters inhabit is dingy and dilapidated. It crawls with crack whores, drug dealers, and other assorted social misfits and lawbreakers who combine to create a cornucopia of urban decay. The film doesn't need to be a glittering advertisement for the Chamber of Commerce, but it makes Boston look so incredibly awful that it's difficult to ignore. Just because the subject matter is dark doesn't mean the city has to look like an insufferable hellhole.
Based on Lehane Novel, the Film's Plot is Its Best Part
Boston-born Dennis Lehane wrote the novel, which was adapted by Ben Affleck and Aaron Stockard. The story surrounds the mysterious disappearance of the young daughter of coke-addicted Helene (Oscar-nominated Amy Ryan). Even though the entire police force of Massachusetts is on the case, private detectives Angie (Michelle Monaghan) and Patrick (Casey Affleck) are hired to amp up the investigation. This forces the cooperation of the cops, mainly Jack Boyle (Morgan Freeman) and Remy Bressant (Ed Harris).
The film suspensefully unfolds through a series of shocking developments and wild plot twists. At times, the way everything and everyone connects feels too convenient. Audiences don't expect films to mimic reality entirely. Still, Gone Baby Gone is sometimes too implausible in its complex interweaving of story elements, which is more a fault of the direction than the plot. Ben Affleck times the twists all wrong and thus loses some of the impact. This film explodes with an almost annoying amount of testosterone and "boys will be boys" swagger, and Affleck echoes this machismo in his directing by continually and needlessly pounding points home to distracting effect.
In Spite of Flaws and Backed by an Amazing Cast, Affleck Shows Potential as a Director
Ultimately, though, Ben Affleck is more than competent and shows great promise. Lehane's source material would be nearly impossible to bungle, so he made a wise decision for his first time. The casting of his brother for the lead was also an inspired, if not slightly nepotistic, choice. Casey Affleck had a tremendous year in 2007 with this and his brilliant Oscar-nominated performance in The Assassination of Jesse James by the Coward Robert Ford. While much better in Assassination, he's also excellent here. Michelle Monaghan is wasted as his girlfriend, functioning as no more than a pretty prop when she's supposed to be his co-detecting equal.
Ed Harris is fiercely fantastic, and Morgan Freeman is, well, Morgan Freeman. He's great, of course, in the same role he usually plays - the wise sage. It would be fun to see Freeman play dumb or give really bad advice in a movie for a change. Amy Ryan is the most vibrant and exciting person in the film, even though her character is one of the most loathsome. She's a total firecracker.
Despite some problems, Gone Baby Gone succeeds because it engages the viewer's heart and mind simultaneously. It deals powerfully and provocatively with the issue of morality and the ambiguity that comes along with it. What's right? What's wrong? The line is constantly blurred. A truly good film leaves the audience with more questions than answers, and Gone Baby Gone does that. It forces viewers to think long and hard about the plot, but also about themselves and their own moral codes. That's wicked intense.
Rating: ***1/2 (out of 5)
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