The Clearing
One look at Wayne (Robert Redford) and Eileen Hayes (Helen Mirren) confirms the existence of the American dream. Successful, proud parents and grandparents, a good home and a good life. Look closer and you’ll notice dings in their perfect marriage, distance between them and their children, and an American dream that’s about to become a nightmare.
“The Clearing,” a modestly engrossing morality tale, is Pieter Jan Brugge’s debut behind the camera, and the prolific and successful producer has been paying attention. Working from a practical screenplay by Justin Haythe, also making his debut, Brugge transforms what is essentially a talking-heads film into a absorbing exercise of bad value judgments.
Haythe’s screenplay is straightforward and to the point, with familiar set-ups and pay-offs, but it’s his ability to capture the interior strengths and weaknesses of his characters that keeps us hanging on. When Wayne is taken hostage at his home and led into the nearby woods to by his kidnaper, “The Clearing” evolves into a engrossing probe of a marriage left to die on the vine.
Eileen’s first thought is that Wayne has left her. She has no idea that he’s in danger, but his unexplained absence forces her to imagine the worst. As Eileen struggles with the arrival of the FBI (Matt Craven), her estranged children ( Alessandro Nivola, Melissa Sagemiller), and confronts her husband’s ex-mistress (Wendy Crewson), Wayne tries to reason with Arnold Mack (Willem Dafoe), who has been hired to deliver Wayne to a nearby cabin.
The parallel storylines are woven together using a time-shifting device that allows the intensity of both situations to play out naturally. Haythe isn’t being clever as much as economical, compressing some events and expanding others so that the characters and the audience reach the same conclusion at the same time.
Developed by Redford’s Sundance Institute, “The Clearing” occasionally feels like a workshop project. The presence of Redford, Mirren and Dafoe defies the film’s parsimonious characteristics, elevating simple scenes of dialogue into engaging verbal duels. Talking head films are always risky, especially if the characters don’t have anything interesting to say. “Ransom” covered the same territory, albeit on a broader canvas, yet Redford, Mirren and Dafoe earnestly convince us we’re hearing it for the first time.
Redford and Dafoe make excellent sparring partners, playing opposite sides of the same coin. Wayne is a natural negotiator, the reason behind his success, while Arnold relies on desperation and a gun to do his bidding.
Redford looks very comfortable in his skin. He’s not trying to play the matinee idol, but a man who has lived life and looks the part. There are moments you feel Redford is drawing from his own life and success to connect all of Wayne’s dots.
The scenes between Wayne and Arnold wouldn’t resonate if Arnold were just a one-note nut. Dafoe plays the hell out of the character, making him both canny and dangerous. Dafoe shares the complexities of his character, never resorting to a black and white performance. We’re pretty sure how Wayne will handle the situation, but Arnold is always a wild card.
Mirren is dynamic as the concerned wife forced to take charge, even if that means acknowledging her husband’s indiscretions. Redford and Mirren are equally effective together as a couple who should be happy but lack the courage.
Mirren has two great scenes, both involving Wayne’s mistress Louise Miller. Eileen’s wall of denial is shattered when her children are informed of Wayne’s prior infidelity, leading Eileen to finally face and hopefully come to grips with the situation.
Brugge understands the limitations of the material (and his budget) and plays to its strengths. Those looking for a “Ransom” clone will be sorely disappointed. Those looking for something more substantial will be elated.
ABDUCTING THE AMERICAN DREAM
“The Clearing” examines levels of loss
THE CLEARING
Robert Redford, Helen Mirren, Willem Dafoe, Matt Craven, Alessandro Nivola, Melissa Sagemiller, Wendy Crewson. Directed by Pieter Jan Brugge. Rated R. 95 Minutes.
LARSEN RATING: $6.00
