Published via Ecency

(source: tmdb.org)

Clint Eastwood didn’t sleep on the laurels following Unforgiven, the greatest triumph of his career. Only a year later he produced and directed A Perfect World, period crime drama which predictably didn’t match quality of its predecessor, but nevertheless represented a fine example of film making.

The plot is set in 1963 Texas and begins on Halloween when a career criminal Robert “Butch” Haynes (played by Kevin Costner) escapes from Huntsville prison together with his psychopathic cellmate Terry Pugh (played by Keith Szarabajka). In need of fresh vehicle, two of them stumble on family home where they are discovered from people in the neighbourhood and forced to take 8-year old Philip “Buzz” Perry (played by T. J. Lowther) as hostage. Butch continues with escape and, after taking out increasingly dangerous Terry, begins to befriend his hostage who is raised in Jehovah Witness’ home and, being deprived of many things other boys take for granted, sees his trip away from home as exciting adventure. In the meantime, manhunt is led by Chief “Red” Garnett (played by Clint Eastwood), Texas Ranger who is given some valuable resources for the task – huge trailer equipped with various high-tech gadgets that make it into mobile headquarters, prison criminologist Sally Gerber (played by Laura Dern) who is supposed to give psychological profile of Butch and FBI expert marksman Bobby Lee (played by Bradley Whitford) who is supposed to solve the problem if peaceful alternatives don’t work.

When he made A Perfect World, Eastwood was increasingly feeling more comfortable behind than in front of camera. It was Kevin Costner, a renowned actor-director himself, who talked him into taking the role, although much smaller than in most of his films. Eastwood is solid in his role, displaying his usual brand of macho attitude and cynicism, yet tempered with old age. His work as an actor is, however, easily overshadowed by Costner who delivers one of the most complex and potentially risky roles of his career. After playing squeaky clean heroic protagonists of epic dramas, Costner here plays character who, behind his seemingly charming exterior of lovable rogue hides ugly personal demons that finally reveal themselves in a frightening and extremely unpleasant scene shortly before the end of the film. Costner had good partner in child actor T. J. Lowther who, for the most part, managed to avoid being irritating as many child actors in Hollywood films can be. Costner and Lowther established good dynamic and despite their characters’ relationship toying with cliches, it is mostly realistic and believable – Butch in little boy sees innocent, happy childhood he didn’t have while Buzz in strange man sees father he never had. Apart from very good cast, Eastwood also had his old associates to help him with talents – cinematographer Jack N. Green and composer Lennie Niehaus. Both of them made A Perfect World look and sound like first class Hollywood production.

Yet, despite its title, A Perfect World is far from perfect as a film. Main problem can be found in script by John Lee Hancock, Texan who was perhaps too enamoured with opportunity to use his native state as setting, so the plot is often going all over the place. On one hand, his script maintains good genre mix of road film, sentimental drama, chase film and occasional detour towards comedy, but there are simply too many subplots and theme A Perfect World tries to explore. Apart from the simple story about escaped convict trying to find freedom or some sort of redemption, there is some heavy-handed social and historical commentary in form of Garnett’s team being divided on gender and ideological lines – Sally Gerber, as the only female, represents liberal and progressive strand of 1960s America, at least nominally opposed to Garnett, while trigger-happy Bobby Lee is represented as sexist troglodyte and embodiment of everything which is wrong with society. The weakest element of the script is, however, a suggestion that the events in this film had played part in making the JFK assassination possible; it is likely that this detail was entered into the script as way for to exploit audience’s obsession with the event on its 30th anniversary. Another problem is, however, Eastwood’s direction which takes things a little bit too slow, making A Perfect World overlong, especially in final scene which is at least ten minutes longer than it should have been. However, even with those flaws, this is a fine film that could be recommended even to the viewers that aren’t greatest of Costner’s or Eastwood’s fans.

RATING: 6/10 (++)