[Editor’s Note: The House Next Door is currently reissuing a series of articles developed at 24LiesASecond, a now-defunct platform for provocative criticism with an underdog bite. Author Robert Cumbow is a member of the Parallax View collective and his essays are being published simultaneously on Parallax View. The essay below was first published on 11/05/2008, under the editorial guidance of James M. Moran (editor-in-chief) and Peet Gelderblom (founding editor).]
I always believed it was the things you donâ€™t choose that make you who you are: your city, your neighborhood, your family. People here take pride in those things.
Gosh, what a great year 2007 was for movies. You could wipe out the Academyâ€™s five Best Picture nominees, replace them with five others, and still have an honorable rack of best-picture candidates. One of those second five could easily be Ben Affleckâ€™s directorial debut Gone Baby Goneâ€”my personal vote for best film of the year.
A well-crafted film, richly deserving of the honors it has received, No Country for Old Men nevertheless too often feels like a collection of highlights from Cormac McCarthyâ€™s novel, sometimes about one guy, sometimes about another, never matching the novelâ€™s more focused vision. There Will Be Blood is even more all over the mapâ€”gorgeous to look at, but without the discipline of knowing where itâ€™s coming from, where itâ€™s headed, and what, if anything, those two points have to do with each other. Michael Clayton bounces between rich characterization and caricature, moral complexity and empty-headed mantras about corporations. Atonement seems to be about one thing, but only for the purpose of revealing ultimately that it is about something else altogetherâ€”not romance or betrayal but the power of art to liberate, and the impossibility of such liberation. And it takes that war-epic detour in the middle, as if to say, â€œHey, guys, this isnâ€™t a chick flick! Honest!â€ Juno is primarily about language, but uneasily so, since its characters, who are all sharply defined and mostly well-rounded, nevertheless all speak with the same voiceâ€”the impossibly quick-witted and widely experienced voice of one clever writer. And the language of the filmâ€™s characters is an end, not a means, never satisfactorily bound to the filmâ€™s moral theme about decision-making.
Gone Baby Gone is also about decision-making; but unlike the Academyâ€™s five nominees, it is a film that from the first to the last frame never forgets what itâ€™s about, and remains unrelentingly faithful to its theme throughout. Director Ben Affleck shows an unerring eye and a concentration of intent that makes this film really special.