The reaction to this film has been rather cold, perhaps because the trailer deceived people into thinking they were getting another Sixth Sense, but instead received another of Clint Eastwood's "chamber pieces". Also, people have attacked this film for being rather superficial in terms of its approach to the subject matter. But Hereafter isn't about providing answers about what exists further on, it's about how people cope with life-changing incidents.
|ABOVE: Cecile de France, Thierry Neuvic|
Peter Morgan, the script-writer of The Queen and Last King of Scotland once again incorporates historic events into a narrative, as seen in the opening scene which recreates the 2004 Indian Ocean tsunami, devastating a resort at which journalist Marie Lelay (Cecile de France) is vacationing with her lover and producer Didier (Thierry Neuvic). Much has been made of this sequence, in which CGI has (for once) been properly used so that one doesn't see the craft. Even the film's detractors concede that this scene is spectacular, but in truth this sequence is presented as lean and matter-of-factly as any other dramatic moments that follow. For instance, a later closeup of a bereaved sibling is far more devastating than anything that the Dream Factory conjures up in these first few moments. As usual, Clint Eastwood is less interested in spectacle than the humans affected by it. (I am reminded of his refusal to turn Flags of My Fathers into a war-is-hell epic that could have rivalled his producer's own Saving Private Ryan). Instead, you see just enough of the chaos to push the narrative forward, as Marie nearly drowns in the deluge, and has a near-death experience. After this trauma, the aggressive journalism celebrity (whose face also adorns billboard ads for Blackberry) instead becomes aloof and meditative. While taking time off from her television show to recuperate, she begins her long held ambition to write a tell-all book about politician Francois Mitterand, but instead (much to the chagrin of her publishers) decides to write about her brief encounter with the hereafter.
|ABOVE: Frankie / George McLaren|
|ABOVE: Bryce Dallas Howard, Matt Damon|
These three stories converge in a carefully plotted resolution that feels neither contrived nor satirical (for example in the cute ending of Kieslowski's Three Colors: Red, which joins the stories of the other two films in the "three colors" trilogy). Eastwood has a good trump card with Peter Morgan, who cleverly weaves the threads together, unlike Paul Haggis' messy attempt at meta-narrative in Flags of Our Fathers. (He further blurs fiction and reality with the addition of the 2005 London bombing, and actor Derek Jacobi playing himself.)
Hereafter isn't the masterpiece I had hoped for, as it admittedly has some choppy sequences, and some weak secondary characters. If one is expecting a Hollywood extravaganza, one will end up being as disappointed as some of the characters looking for enlightenment. Instead this is a low-key study, where the other world is presented only sparingly (with blurry silhouettes in the foreground, bleached out by the traditional white light), and the supernatural is presented as subtly as a hat blowing away. Despite that Steven Spielberg is the executive producer, there is little wonderment to behold other than that of human emotion. Once again, Eastwood presents a film with his typically lean direction, jet-black cinematography by Tom Stern, and a characteristically sparse musical score. (Upon leaving the theatre, I found myself humming the similar piano trickle from Million Dollar Baby.) And perhaps in light of the bombast we customarily expect from Hollywood this days, this film is a quiet relief.
In the past decade, Clint Eastwood has consistently given us surprises: seldom delivering what we expect, but instead what we need. Happily, Hereafter is another fine example of Eastwood's renaissance as a filmmaker. His recent oeuvre can only be compared with the impressive string of films released by other directors like Robert Altman, Luis Bunuel or John Huston, who made career-defining comebacks in their post senior years. While this film may sound elegiac, (as in Altman's A Prairie Home Companion, which the director likely knew would be his final picture) especially since it is made by a filmmaker in his autumnal period, it is one of the most life-affirming movies ever made about death. (One would put this film in that very small catalogue shared by Peter Weir's Fearless.) It is a surprisingly rapturous study of people who learn to appreciate the great gift of life after their experiences with death. And while still showing no signs of slowing down at the age of 80, we can only ask, what is Clint Eastwood going to do next?