By Roger Costa
THE MULE
For the past decades, Clint Eastwood had conceived precious examples of American way of living, marking his political, social and moral perspectives throughout fresh, familiar, very effective stories of relationships. He also created magnificent portraits of strong, unforgettable male characters, becoming himself, a modern, super-power-less, humane hero. At the age of 88, Eastwood is finally settling down after a fantastic career and this is reportedly to be his last project. He plays Earl Stone, a rude, self-centered and horticulturist who has serious family problems. After losing his property and business due to the advance of internet sales, he finds a risky way to provide, entering the criminal world as a drug mule for the Mexican cartel.
As he had always forgotten his family, putting them on hold because of work, he has long been denied any contact, but the approaching wedding of his granddaughter might be opportune for forgiveness. He uses the large amount of money he makes with the deals, to impress not just his family with gifts and parties, but also members of his community. In the meantime, he is analyzing his own attitude and what’s left to hope, as he clearly understands the road of life is coming to its last stop. He makes sure to settle unsolved matters with his daughter, ex-wife, and everyone he once had concerns about, including African-Americans, immigrants and homosexuals.
With this 40th and final directorial effort, Eastwood concludes a fascinating trajectory of an artist who stood up for his perspectives and principles, but also understood his human condition, expressing his respect for all whatsoever. Here, he exorcises past ghosts of his own, with autobiographical elements, and also points insightful, provocative commentaries to the distorted way the world is going to, blaming technology for the problems of social communication and lack of respect in the new generation.
Though his character is often called as a rude person, he provides cynical efficient jokes, creating a fresh comedic sense to the narrative. Eastwood blends this comic influence to the social and family topics mentioned, and gets explosive as his character enters the drug cartel, depicting the criminal activity with accuracy and fueled with fine entertainment. He also gathered phenomenal actors to play along, Bradley Cooper and Michael Peña as the pair of detectives on his hunt, Andy Garcia and Clifton Collins Jr. as the Cartel bosses, Dianne Wiest and Alison Eastwood as estranged mother and daughter, and Laurence Fishburne as the DEA Chief. Loosely based on a real story, and crafted with his masterful, precise and also sensitive techniques, Eastwood inverts the role from hero to bandit, just to say goodbye in a great way. We truly thank him for his work, and American cinema will surely miss one of its most important conductors. (Warner. 12/20. AMC Lincoln Square.)
MERRY CHRISTMAS!!!
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