Changeling Movie Essay
Changeling is a movie from 2008. Directed by Clint Eastwood, and based on a true story, this film is about a woman who takes up a tiff with the Los Angeles Police Department for giving her a child that didn’t belong to her. This twisted drama dates back to the late 1920’s to the early/mid 1930’s. The main characters in the film were: Christine Collins (Angelina Jolie), Walter Collins (Gattlin Griffith), Captain. J.J. Jones (Jeffery Donovan), Reverend Gustav Briegleb (John Malkovich), Sanford Clark (Eddie Alderson), Gordon Northcott (Jason Butler Harner), Carol Dexter and Detective Lester Ybarra (Michael Kelley). (IMDb) One Saturday morning a mother said goodbye to her son on her way to work. Being a telephone operator a young Christine
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That is not to say that the subject of 78-year-old Clint Eastwood’s latest – the moving and true story of a traumatised lone mother (Angelina Jolie) who, in late 1920s Los Angeles, insists that the son returned to her by police following his kidnap is not hers – doesn’t involve themes and elements close to the director’s heart. It very much does: not least those of struggle against repressive systems, intolerable situations or impossible odds, a re-appraisal of the depiction of women and others seen as ‘second-class’ and an unflinching approach to the complexity, ironies, rituals and political implications of crime and violence, punishment and revenge.But having said that, ‘Changeling’ is, for an essentially populist work, unexpectedly audacious, advancing way beyond the call of duty in all its basic four elements. Firstly, as a period-reconstruction costumer, it is meticulous to the point of affectionate in its realisation of the lost world of 1928 LA, while never allowing such ‘colour’ to obscure or upstage the human drama. As a police investigative procedural, too, it mounts a sober, credible, yet searing critique of the famously corrupt political and law enforcement establishment of the day, led by Chief Davis (Colm Feore). And, as a variation on the campaigning/woman-in-jeopardy movie, it illicits Jolie’s finest performance to date, as the woman, Christine
That is not to say that the subject of 78-year-old Clint Eastwood’s latest – the moving and true story of a traumatised lone mother (Angelina Jolie) who, in late 1920s Los Angeles, insists that the son returned to her by police following his kidnap is not hers – doesn’t involve themes and elements close to the director’s heart. It very much does: not least those of struggle against repressive systems, intolerable situations or impossible odds, a re-appraisal of the depiction of women and others seen as ‘second-class’ and an unflinching approach to the complexity, ironies, rituals and political implications of crime and violence, punishment and revenge.But having said that, ‘Changeling’ is, for an essentially populist work, unexpectedly audacious, advancing way beyond the call of duty in all its basic four elements. Firstly, as a period-reconstruction costumer, it is meticulous to the point of affectionate in its realisation of the lost world of 1928 LA, while never allowing such ‘colour’ to obscure or upstage the human drama. As a police investigative procedural, too, it mounts a sober, credible, yet searing critique of the famously corrupt political and law enforcement establishment of the day, led by Chief Davis (Colm Feore). And, as a variation on the campaigning/woman-in-jeopardy movie, it illicits Jolie’s finest performance to date, as the woman, Christine