Mesmerizing Movie With Angelina Jolie On Netflix Is A Punch In The Face That Will Keep Burning For Days

Clint Eastwood is one of the few who know the formula that allows him to play with the feelings of his audiences. Since “Breezy” (1973), Eastwood has increasingly moved from the proscenium to the backstage, an evolution that took him at least three decades to establish himself as the brilliant filmmaker he is today, whose milestone is defined by the release of “Breezy” (1973). Golden Girl” (2004), production which won the Oscars for Best Picture; Best Director; Best Actress, for Hilary Swank; and Best Supporting Actor for Morgan Freeman; and it constituted a unique way of making cinema, in which the professional tough, the macho American of Sergio Leone’s westerns (1929-1989) gives way to the sensitive man, still unbreakable, but who suffers — and how! —with their own personal tragedies and those of others. The director conducted this transition guided by the urgency of adapting to the countless new worldviews that were imposing themselves over so many years, proving himself, above all else, a man of his time. And he seems farther and farther from being satisfied.

In “The Exchange” (2008), the director gives yet another proof of his artistic generosity and provides all the material for Angelina Jolie to shine as a mother whose nine-year-old son suddenly disappears and has to deal with the pain of experiencing the little case of the police. Jolie, on the other hand, responds and is very comfortable as Christine Collins, catalyzing all the revolt, the despair, the nonconformity of a woman who perceives herself as the mainspring of a perfidious gear, of which the LAPD — certainly the most ineffective and corrupt in the world, taking what the movies say about her as a parameter —, she takes advantage of it in order to clean up her bar. As can be seen from her performance, Collins wouldn’t even bother to take on such a role, as long as she heard Walter, her Walter. But the boy the authorities find in DeKalb, in northeastern Illinois, and that Jeffrey Donovan’s Captain JJ Jones wants to push him is not who she expected.

Based on a true story set in March 1928, the screenplay by J. Michael Straczynski points out important details in order to make the audience increasingly immersed in Collins’ drama. Walter, the real Walter, a character by Gattlin Griffith, is three inches taller than his doppelganger, the role of Eddie Alderson. As the story takes shape, Eastwood unravels other fundamental elements to make this the version that really matters, with no room for quibbling or noise: the boy doesn’t know which desk he sits at in Pamela Dunlap’s Mrs Fox’s class, and his dental history does not match the records of Doctor Earl Tarr, played by Peter Gerety. Still, Jones insists on the farce, with such commitment that Collins ends up in a psychiatric hospital, where he comes across cases similar to his, of women who dared not subject themselves to the discretion of the police in episodes that ranged from sexual abuse of prostitutes to blackmail. unsuccessful. Meanwhile, figures such as the Reverend Gustav Briegleb, with John Malkovich in an affective and growing participation, and Michael Kelly’s self-sacrificing detective Lester Ybarra, become ingrained in the story, until the climax, which takes Ybarra to a farm in Winesville, in California, announces itself without mercy.

At the age of 92, Clint Eastwood, one of the best directors in the world, refines himself day after day, literally digging up lost plots of ordinary American everyday life and giving them the aura of grandiose plots from details such as photography, here signed by Tom Stern, and editing, by Joel Cox and Gary D. Roach. It can never be said whether Eastwood was too late to launch himself into a directorial career, at age 43; the fact is that his maturity runs in parallel with the equanimity with which he is able to appreciate events like the one that unfolds in “The Switch”, without bias of any kind – which Dirty Harry certainly wouldn’t do. Delving into the rottenness of the system nearly a century ago, Eastwood reveals himself to be a hands-on social investigator. And it looks like he’s just getting started.


Movie: The Exchange
Direction: Clint Eastwood
Year: 2008
Genres: Drama/Police/Thriller
Note: 8/10

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