Based on the best-selling novel by Dennis Lehane Mystic River is full of characters wrought with heavy emotions--and burdens. Yet it is also a fairly simplistic murder mystery. Three 13-year old boys Jimmy Sean and Dave are playing on a street in a tough Boston neighborhood when two pedophiles pretending to be cops grab Dave and take him away. In that moment all three lives are irrevocably changed. Jimmy (Sean Penn) grew up as tough as his neighborhood doing time for robbery but finally settling into a comfortable family life with his wife Annabeth (Laura Linney). Sean (Kevin Bacon) went on to become a cop but his personal life is in a shambles and he is estranged from his wife. Dave (Tim Robbins) has never been able to face his demons despite being a loving father and husband to Celeste (Marcia Gay Harden). Now 25 years later tragedy brings them together once again. Jimmy's 19-year-old daughter is found murdered and while Sean is assigned to the case with his partner Whitey (Laurence Fishburne) Jimmy seeks his own vigilante investigation with the local hoods--and Dave emerges as a prime suspect. As the mystery is unraveled all are pulled closer toward an abyss that will force them to face their true selves--and will mark them as irrevocably as the past itself has tainted their lives.
This is one of those dream scripts serious actors simply go gaga over--and the high-quality ensemble in Mystic River does their jobs superbly. To pinpoint the best performance of the bunch however is virtually impossible--and the Academy may have a tough time making the same distinction as there is surely going to be a nomination or two coming from this film. Penn as the emotionally charged Jimmy stands out a little ahead of the rest with his fury resonating throughout the film. Robbins' ultra-vulnerable Dave is also a remarkable study of a soul completely wounded by the horrors he has experienced. Linney and Harden too are excellent as the spouses; Linney as Annabeth is a strong defiant mother whose only impetus is to protect those she loves while Harden in contrast is meek and unsure as Celeste faced with the dilemma of showing faith and loyalty to her husband while at the same time being convinced he committed the murder. All the performances will quite literally blow your socks off.
With all its excellent acting Mystic River has the added benefit of being helmed by director Clint Eastwood who has enormous talent behind the camera. He likes his films to simmer; his Midnight in the Garden of Good and Evil and Oscar-winning Unforgiven are two examples. Mystic River is beautifully put together with lingering shots of Boston neighborhoods and the people who live in them. He doesn't move the camera much keeps things steady but knows when to pull in or pull out as the drama escalates (an aerial shot of an anguished Jimmy being held back by several policeman after he discovers his daughter's body shakes you to the core). Still there are some problems with this slow-burn technique in that sometimes things should move along rather than stand still. Eastwood seems also to have had trouble finding the ending. After a pivotal powerful climactic scene with Jimmy and Sean discussing Dave's kidnapping 25 years ago and its effect on all their lives Eastwood tacks on a few more final scenes of the men tying up loose ends resolving feelings with each other and their wives--and then going to watch a parade. It's a minor point compared to the quality of the rest of the film but it still leaves things on an anti-climactic note.
A former shoeshine boy, he went on to a prodigious movie career and a prodigious life, starring in more than 100 feature films and siring 13 children. On Saturday, Anthony Quinn passed away from respiratory failure, robbing Hollywood of a true legend. Quinn was 86.
The tempestuous screen image of two-time Academy Award winner and Renaissance man Anthony Quinn matched his much-publicized, unquenchable thirst for life.
Quinn's exotic background enabled him to play a potpourri of ethnicity, ranging from an Eskimo in Savage Innocents (1960) to a Russian pope in Shoes of the Fisherman (1968), to his most famous role, Zorba the Greek (1964).
Quinn also played a plethora of historical roles like Crazy Horse in They Died with Their Boots On (1942), Attila the Hun in Attila (1955), Paul Gauguin in Lust for Life (1956) and Kubla Khan in Marco the Magnificent (1966).
The death of his Irish-Mexican father, who had ridden with Pancho Villa before settling in Los Angeles to work as a cameraman and prop man, forced the younger Quinn to help support his grandmother, mother and sister. In addition to working such positions as shoeshine boy, cement mixer and foreman in a mattress factory, Quinn also played saxophone in evangelist Aimee Semple McPherson's orchestra.
During junior high school Quinn won a chance to study and work with celebrated architect Frank Lloyd Wright, whose insistence that Quinn attend acting school to improve his speech ultimately led to his career in film.
Though Quinn acted on stage with Mae West in Clean Beds and spoke his first lines on film in Parole (both 1936), he made a lasting impression by standing up to Cecil B DeMille, who cast him as a Cheyenne Indian in 1937's The Plainsman.
As cast and crew looked on, Quinn responded to the most recent of a series of abusive outbursts from the director by telling DeMille how he should shoot the scene and where DeMille could put his $75 a day salary. After staring at the young actor for some time, DeMille announced, "The boy's right. We'll change the set-up," and later said admiringly, "It was one of the most auspicious beginnings for an actor I've ever seen."
Quinn would act in two more movies, The Buccaneer (1938) and Union Pacific (1939), for the directing legend. He would also woo and marry his adopted daughter Katherine and helm the 1958 remake of The Buccaneer, executive produced by DeMille and the director's last project before he died.
By then, Quinn had shaken free of the son-in-law tag to become a star in his own right, exhibiting tremendous staying power over the course of a career spanning seven decades, mixing inspired performances with good cured ham.
Quinn played his fair share of Indians amidst assorted heavies, even ending up with Bob Hope, Bing Crosby and Dorothy Lamour in two of the "Road" movies: Road to Singapore (1940) and Road to Morocco (1944). But despite many good notices for supporting roles in pictures like Blood and Sand (1941), The Ox-Bow Incident (1943) and Back to Bataan (1945), it would take a return to the stage to raise his stock higher.
He made his Broadway debut in The Gentleman from Athens (1947) before director Elia Kazan tapped him as Stanley Kowalski for a U.S. tour of A Streetcar Named Desire. Kazan then cast him as Marlon Brando's brother in Viva Zapata (1952), for which he earned the first of two Oscars as Best Supporting Actor.
Quinn played an aging bullfighter opposite Maureen O'Hara in Budd Boetticher's The Magnificent Matador (1955) and then won his second Best Supporting Actor Academy Award for his portrayal of larger-than-life artist Paul Gauguin in Lust for Life (1956), the title an apt description of his own zestfulness.
Finally, after 20 years in the business, he had become a full-fledged box office star, and the next year would see him garner a Best Actor Oscar nomination for his turn opposite Anna Magnani in 1957's Wild Is the Wind. Quinn followed in the prestigious footsteps of Lon Chaney and Charles Laughton as Quasimodo in The Hunchback of Notre Dame; the actor was also outstanding as the opportunistic Bedouin Auda Abu Tayi in David Lean's Lawrence of Arabia (1962).
Although Quinn had portrayed with distinction Greek patriot Colonel Andrea Stavros in 1961's The Guns of Navarone, that character paled before what would become his signature role. The very embodiment of the actor's passion for living, Zorba the Greek (1964) was a wise and aging peasant, totally committed to life, no matter the outcome. From his slapstick pursuit of aging French courtesan (Oscar-winner Lila Kedrova) to the pathos of cradling her as she died in his arms, Quinn pulled out all the emotional stops on his way to another Best Actor Oscar nomination.
Nearly 20 years later, Quinn reprised Zorba!, this time in a 1983 revival of the Broadway musical which reunited him with both Kedrovaand the film's writer-director Michael Cacoyannis. Quinn earned a Tony nomination for his efforts before touring the U.S. from 1983-86, forever stamping the part as his in the minds of the theater-going public.
Wife Kathy Benvin, who is the mother of his two youngest children, survives Quinn, along with eight sons and four daughters.