Changeling - REVIEW

The first half of "Changeling" would be perfect material to build a drinking game around. Take a shot every time Angelina Jolie's Christine Collins says some variation of "He is NOT MY SON!", and I guarantee that it won't take long before you're plastered. Well, now that that's out of the way, let me go on and say that Changeling is actually quite a solid film, though it's leaps and bounds behind Clint Eastwood's best work. Though many are certain to proclaim Jolie's performance as the highlight, the real star here is the story itself, which is a classic case of truth being stranger (so much stranger) than any fiction concocted out of thin air. When single mom Christine Collins' son Walter goes missing in March of 1928, the LAPD sets out in search of the boy. Five months later, he is returned, except he's...different. Not only is he 3 inches shorter, but he's also circumcised. Pretty big differences. Surely, surely this would prompt the LAPD to reopen the case. That's where everything starts getting out of control. Not only do the LAPD try to convince Christine that the boy given to her is in fact her son despite glaring differences, but they make her seem as though she is an unfit mother, and worse, paranoid. For a time, things only get worse. However, in spite of its compelling source material, there's still something not quite right with the film as a whole. Though never boring, those 2 and a half hours almost go by too quickly, resulting in a lack of build up and true dramatic impact. Though artistic aspects are all top notch, there's still something odd about the art direction; it all looks a little too perfect, too sterile. And even though it's quite nice to listen to, the film's score often chimes in when unwelcome, trying to tell the audience what they should be feeling some 10 seconds or so before a "powerful/touching" scene actually arrives. Mr. Eastwood, if there's one thing I've never accused you of, it's being condescending toward your audience. Here, however, I must say that you are somewhat guilty. Perhaps the most odd complaint, given everything I've said above, about the film is...well...the story. Compelling? Certainly. Packed with twists and turns? You betcha. Meant to be put on the silver screen in its entirety? Perhaps not. While there may have been a fantastic way to weave in all the distant-yet-intimately-connected threads of the story, Michael Straczynki's script seems somewhat unfocused, and at times feels a little lacking in depth. And then there's Jolie's performance. Once again, she's perfectly fine, but I simply don't get much out of her as a heavy weight dramatic actress. This is a woman who is truly at her finest when playing badass action heroines (Tomb Raider, Mr. And Mrs. Smith, Wanted, etc...), not when she's playing emotionally tormented women. Even when she shrieks and cries with passion, there's still a certain dramatic heft that's missing, leaving the emotions as purely superficial. Leave those roles to Blanchett, Winslet, Kidman, and others of their caliber. Though I'm sure we'll never hear his name again, the young actor who plays a key role into figuring out the whereabouts of Christine's son actually steals the show, especially in a chilling interrogation scene where he reveals the horrific details of what he knows. Hell, even adorable Amy Ryan (Gone Baby Gone), who barely has 5 minutes of screentime accomplishes more than Jolie's neverending tears. In some ways, Jolie's performance is a perfect parallel to the film as a whole: beautiful and tragic, but never deep enough to fully immerse its audience.

Grade: B-

Nominations: None

Number of 2008 films seen: 38