SPOILER ALERT! The plot of
the movie will be discussed.
I
chose this 2007 film, directed by Ben Affleck, not only because I believe it
was one of the best motion pictures that year, but also because it is a worthy
follow-up, in terms of the questions it asks, to last week’s entry, Mississippi Burning. Both movies pose
moral dilemmas for their characters when they must decide what they believe are
the right actions to take, even if those choices break legal and moral
guidelines.
The
first shot we see is of a lower-class section of Boston. You can tell it is
summer by the bare midriff tops worn by the women, and you can almost smell the
perspiration of the inhabitants living in this crowded area, where steaming
tempers crave for a chance to blow off. The faces of the people look hardened
by the fight for survival here. The first words are a voice-over delivered by
the main character, Patrick Kenzie (Casey Affleck, in a terrific performance).
He says, “I always believed it was the things you don’t choose that make you
who you are. Your city, your neighborhood, your family.” This is an ironic
line, because in the film, the choices people make are the things that end up
defining them. He then gets specific about himself, telling us that he, like many
others here, have lived their whole lives in this section of town. Thus, he
knows the turf, and, since his job is to find missing people, he says, “it
helps to know where they started.” He says that these marginal people started
in the “cracks” of the society, and then “fell through.” Although Patrick
acknowledges that “the city can be hard,” he has not given in to despair, relying
on his Catholic faith to help him “get to heaven” without being destroyed by
the “evil in the world.” He once asked his priest for guidance, who offered up
God’s words: “You are sheep among wolves. Be wise as serpents, yet innocent as
doves.” Not an easy task. But, Patrick still believes in innocence, and the
hope to escape the evil. His job is a significant one, akin to that of a
religious man, trying to save souls before they are irreparably lost.
But,
before now, he was just bringing back adult transgressors, who maybe tried to
skip out on making payments on what was owed. His life changes when the
“innocence” of a four-year-old girl from the neighborhood, Amanda McCready
(Madeline O’Brien) is in jeopardy because she is reported missing. We witness
the concern from the locals, but the cops and the reporters are there in large
numbers, which turn the scene into a media circus, feeding the public’s
cannibalistic desire for lurid stories. Patrick’s partner, and love interest,
Angie (Michelle Monaghan) comments how horrible the situation is. To which
Patrick sarcastically says, “Not for Channel 9.”
Angie
asks if Patrick knows Amanda’s mother, Helene (Amy Ryan). Even before we meet
Helene, we get an idea of her propensities when Patrick says she performed oral
sex on a fourteen-year-old friend of his when they all went to high school
together. Patrick says the boy at the time was “innocent and milking cows in
Vermont,” a wholesome image of a boy defiled by a seductress. To which Angie
says, “I don’t know about innocent.” In this short exchange, we see the
difference between these two characters. Patrick can still talk about a world
without sin, but that world does not exist for Angie, not even as a memory.
Bea
McCready (Amy Madigan) and her husband, Lionel (Titus Welliver), Helene’s
brother, visit Patrick and Angie because the neighborhood people, who have had
their criminal brushes with the law, are not forthcoming with the police. They
want these private investigators to supplement the official investigation. It
is important to note that it is Bea who pushed for the media to help and wanted
to involve Patrick over the protests of Lionel and the police, since this fact
is a clue to the resolution of the story. (A small detail, such as the uniform
that Lionel wears with his name tag on it, tells us about his place in society:
he is a blue-collar serviceman). Lionel says that Helene is hurting, but Bea
has no sympathy for her, saying that she was the one who left the girl alone in
the house. He admits that his sister and he inherited a tendency toward
addiction, but he has been able to kick it for twenty-three years, because of
his wife’s support. Angie is reluctant to get involved in the case. She later
tells Patrick that she doesn’t want to find the little girl in a dumpster, or
abused. Her mind assumes the worst-case-scenario will play out. Again, Patrick offers
the possibility that they may be able to save Amanda. He wants to accept the
job because he clings to having faith in hope.
They
go to Helene’s home, and the low-life existence of Amanda’s mom’s world is
displayed in full force. Helene sits on her couch not with sorrow about the
loss of her child, but with hostility toward others, even her own family. For
her and her friend, Dottie (Jill Quigg), everyone is the enemy. Their first
impression is that Patrick and Angie are just trying to cash in on the
publicity surrounding the abduction. This attitude derives in part from class
resentment here. Dottie says she recognizes Angie. She says, “I remember you
from high school. I see you’re still a little conceited, huh?” Helene feels the
same way about Bea, who has enough money to hire the two PI’s. (It’s noteworthy
that Patrick says the money’s not important, because he is, in a way, on a holy
quest to redeem a fallen community). Helene spews forth profanities and racial
and homophobic insults as easily as others might talk about the weather. Bea
actually seems more motherly than Helene, showing a picture of the
sweet-looking Amanda to Angie, who comes around to taking the case. She echoes
Bea’s earlier statement that after all, “What harm can it do?” This statement
can be seen as an ironic foreboding.
Patrick
and Angie go with Bea and Lionel to check out Amanda’s room. While watching a
video of Amanda, Bea says the little girl always tried to be a good girl; a
simple statement, but it points to how hard that goal is to achieve in this
environment. Lionel says that Helene drinks a lot, takes cocaine, and is at a
local bar almost every day. Patrick, while observing Amanda’s room, notes that
items are missing. He says, “What did they do, kidnap the furniture, too?” This
fact is a hint that whoever took Amanda, wanted her to feel safe among familiar
things. Police Captain Jack Doyle (Morgan Freeman), who heads up the Crimes
Against Children unit, shows up. He pointedly says that he does not appreciate
Patrick and Angie interfering in the investigation. Patrick stands up to him,
saying that they have a legal right to work for the family. As in most
mysteries, when you watch a film again you can see significant details. Here,
it is no coincidence that both Lionel and Doyle are the ones discouraging
Patrick and Angie’s participation. It is also important that we later learn
that Doyle’s own child of twelve years of age was killed by a predator. At one
point in the story he says of Amanda, “This child. It’s all I care about.” The
plot shows how this concern is all too true.
Patrick
and Angie go to the bar which Lionel said Helene frequents. The inhabitants of
this place are not part of what one would call a civilized urban establishment.
The hostility they exhibit shows them to be more like de-evolved humans. Again,
the anger of perceived condescension is present. When Patrick is seen as the
enemy because he starts asking question, he hits a wall of resentment. Once he
starts to crack wise with them, Patrick (even though he is not an outsider) is
viewed as not on the side of those present. One person says to Patrick they
don’t serve martinis here, which goes along with the bartender warning Patrick
not to talk down to him. Obviously, these guys are paranoid about feeling
judged. Patrick does see an old friend there who tells him that Helene would
meet up here with a guy to do coke. He’s another person Patrick knows about,
Skinny Ray Linkanski (Sean Malone). Patrick finds out that Helene, who said she
was only away from the house for a short time at a neighbor’s during the time
of Amanda’s abduction, was actually at the bar for hours. Patrick’s informant
here says that Helene would take Amanda to this hellhole during the day,
because it wouldn’t be fit to take her at night because of the fights and
drugs. In this depraved world, Helene not taking her daughter here in the
evening is considered good mothering, a realization which disgusts Angie. When
the customers don’t like inside information being revealed, they harass
Patrick, and make abusive sexual comments about Angie. They lock the doors,
preparing for an assault. Patrick, however, is carrying a gun, cracks one of
the others over the head, and they escape. This joint would definitely not show
up in a AAA guide for tourists.
Doyle
promised Patrick they would have the cooperation of two cops, Remy Bressant (Ed
Harris), and Nick Poole (John Ashton). They meet at a restaurant, and the
policemen point to a threesome of degenerates who could be involved in the
abduction (misdirection?). They are drug users Leon Trett (Mark Margolis), his
wife Roberta (Trudi Goodman), and the guy they work with, serial molester
Corwin Earle (Mathew Maher). Nick does concede that Earle’s preference in the
past has been seven-to-nine-year-old boys. Patrick is surprised that they have
no other leads. He asks if they knew anything about Skinny Ray, to which Remy
says he never heard of him (major clue). Another important fact is that, in
response to Patrick’s question about his name, Remy says he was originally from
New Orleans.
Patrick
and Angie have a meeting with another old pal, Bubba (the rapper Slaine), who
is the self-proclaimed ruler of the region’s druggie underworld. He doesn’t
know the Tretts or Earle, but says he’ll ask around about them, and that Skinny
Ray used to work for him, but now is an associate of another drug dealer, a
Haitian criminal named Cheese. Remy, Nick, Angie, and Patrick interrogate
Helene, telling her she lied about where she was when Amanda was taken. Lionel
says that he sometimes heard Ray and Helene talking, snice he lived on another
floor in the same building. She admits that she used to run drugs for Cheese
through her association with Skinny Ray. Remy now (conveniently?) reveals that
he heard that someone stole money from Cheese. After a lot of
profanity-saturated shouting, Helene admits that she and Ray took the money
from Cheese’s drug deal with bikers who were busted by the cops. They thought
they could rip off the cash, since it would look like the cops confiscated it.
Helene admits to bringing Amanda to this drug deal. Bea is horrified. We again
get Helene’s perverted version of mothering when she said she protected Amanda
by leaving her in the car. She says to Bea, “I ain’t got no day care,” which
refers to her disadvantaged situation in life. She says she is a single mom
facing insurmountable odds, in an attempt to justify her choice to escape into
intoxication and crime (remember Patrick’s first words about what makes you who
you are, surroundings or individual choice). We also learn from her that Bea
can’t have children (which emphasizes why her niece is so important to Bea).
Helene
leads them to Ray’s place where Helene stashed the money. On the way there,
Helene, instead of being the grieving mother, engages in homophobic jokes, while
also giving lip service to motherhood by saying how Ray was loud and would wake
up Amanda, and her girl needs her sleep. We see on Angie’s face how her disgust
for Helene grows. Helene talks about a guy, whom she dated in high school, who stabbed
somebody in the heart and was now in prison. This horrible story is just
probably one of others she has to share about her formative years. To stress
the town’s fall from grace and innocence, we have a quick scene where a young
boy riding on a bike gets in the way of Patrick’s car. Instead of apologizing,
the youth tells Patrick to “Go f--- your mother,” after which Patrick shakes
his head at how corrupted his world has become. They find Ray dead after being
beaten. They assume this was done by Cheese, but Ray didn’t know that Helene
buried the bag of cash in the back yard, so he couldn’t tell Cheese where it
was. They retrieve the money, and after seeing what happened to Ray, Helene
says that she hopes Amanda is resting because she was sleepy when she saw her
last. She then seems sincere as she tells Patrick that “I won’t use no drugs no
more. I won’t even go out.” She says she just wants her daughter back and makes
Patrick promise that he will find Amanda. This vow is pivotal in Patrick’s
decision later.
Given
the way things look, it appears that Cheese took Amanda and wants to exchange
her for the money. Patrick says he knows Cheese and convinces Remy and Nick to
stay outside while he and Angie talk to the Haitian. Cheese appears not to know
about Ray or Amanda as he darts looks at his second-in-command, Chris Mullen
(Jimmy LeBlanc). He says that he doesn’t mess “with no kids,” but if they have his
money, just drop it off. He also says that if Patrick is all that the little
girl has to rely on, then she is “gone, baby, gone.” Cheese is definitely a
colorful character. After he tells one of his girlfriends to stay close by, he
says, “Bitches love the cheddar,” and tells Patrick on his way out, referring
to the derogatory reference to cops as “pigs,” says, “Get that sausage off my
lawn,” cement substituting for grass.
Surprisingly,
Remy calls Patrick and says Cheese is ready to make the swap. Amanda’s blanket
and instructions are found in Patrick’s mailbox. But, they meet with Doyle, who
is angry because the deal was made without the approval of the police
department. It is significant that this meeting only involves Remy, Nick, and
Doyle, who hands Patrick a copy of the transcript of the recorded call that
Cheese made to the department. Doyle says he has been forced to go along with
the exchange, but it must be kept quiet to avoid any show of force that might
cause Cheese to hurt Amanda. The place the swap is to occur is near a
water-filled quarry. Patrick and Angie are supposed to receive Amanda on one
side, while Remy and Nick give Cheese the money on the other (why separate
them? We learn later). Chris Mullen is supposed to be there, too, and Patrick
doesn’t like that because he thinks Mullen killed Skinny Ray. Patrick also
wonders about bringing Amanda up the steep terrain, asking “How’s he going to
get her up here?” Just them shots ring out, and Remy and Nick say there has
been an ambush and someone shot Cheese. There is a splash and Angie, after
seeing Amada’s doll floating on the water, dives in. But, all she can do is
retrieve the doll.
Amanda
is presumed dead. Another significant detail is that it is Doyle who calls off
the search, saying that the quarry is too deep, a metaphor for the depth of
this mystery. In a temporary switch of stances, it is now Angie who says Amanda
could still be alive, while Patrick doesn’t think so. Remy, Nick, Patrick, and
Angie are absolved of what happened at the quarry, while Doyle takes full
responsibility, and retiring at half his pension. Chris Mullen is the one who
double-crossed Cheese, wanting the money for himself, but he, too, is killed
(conveniently?), supposedly by someone trying to rip him off. Patrick and Angie
start to drift apart, with guilt over the loss of Amanda weighing heavily on
Angie.
Another
child is now missing. It is a young boy, who we see in his picture holding a
St. Christopher’s medallion (ironically, the saint of safe passage). The Boston
area is predominantly Irish Catholic, and this symbol of that faith accentuates
the lapsed state from God’s grace the people here find themselves in. Patrick’s
gangster friend, Bubba, promised he would find the Tretts and he delivers. He
takes Patrick with him on a drug deal with the Tretts. Patrick tells the police
afterwards that he saw Corwin Earle, the pedophile, upstairs possibly wearing
the St. Christopher’s medal (purity hijacked?). Patrick goes with Remy and Nick
to go after the Tretts and Earle. Why does Patrick go too? Perhaps he feels he
needs to seek redemption for himself for having lost Amanda, by trying to
rescue another child. Nick is shot, and later dies. Patrick shoots inside, and
probably kills Leon, who lies on the floor. Roberta starts shooting at him, and
he locks himself in Earle’s room, who says “It was an accident,” while he
cowers and cries. Patrick finds the missing boy dead in a tub. In his anger, he
shoots Earle dead in the back of the head. Remy kills Roberta.
Later,
Angie says she is proud of what Patrick did, but Patrick feels guilty for his
going outside of the law to mete out justice. He later encounters a drunk Remy,
who also tells him he should be proud. Patrick says he was taught that if you
feel shame, which is what he does, then it is God’s way of telling you that you
did something wrong. He says murder is a sin, so he feels that he not only has
broken a human law, but also one of God’s. As to whether killing someone is
wrong, Remy’s less absolute view is it “depends on who you do it to.” Remy then
tells a story about how he went to bust these people living in a slimy crack
house full of roaches and rats, but their kid’s room was “immaculate,”
“spotless,” (like the soul of an innocent child, trying to hold onto his purity?).
The child was like Patrick initially said God described people to be, as sheep
among wolves. There was supposed to be drugs there, they didn’t find any, but
Remy planted evidence so that the boy, who suffered beatings and was
malnourished, could be removed from that dangerous world. For Remy, the choice
(that word again) was easy. Children are the true Christians for Remy, because
they don’t judge, they turn the other cheek, they forgive. He goes on to say
that there is a war being waged for the children’s salvation, and “You gotta
take a side.”
But,
in his drunkenness, Remy let it slip that his “old pal” Skinny Ray told him
about the place in his story. Yet, at their first meeting, Remy said he never
heard of Ray. Patrick wants to know why Remy lied to him. He learns from a
policeman friend that Remy was asking around about the money that Cheese lost
before Cheese even knew it was gone. Patrick believes he figured out what
really happened. He sets up a meeting with Lionel at a local bar, fittingly called
“Murphy’s Law,” the film emphasizing that what can go wrong will go wrong
(i.e., the plan to take Amanda). Before the meeting, we see Lionel staring at
numerous religious pictures, possibly suggesting that Remy’s “easy” choice of
taking the righteous side is more complex than he would make it seem. We get
Lionel’s flashback of a conversation with Remy, where Lionel says he can handle
Patrick, while Remy says in his world you take a secret with you to your grave.
At the bar, Patrick knows that Remy could only have found out from Lionel’s
confessed eavesdropping that Skinny Ray and Helene had taken Cheese’s money.
Lionel admits that he knew Remy from a while back when he had testified on
Lionel’s behalf about a bar fight that went wrong. The plan was that Remy and
Lionel would take Amanda and make it look like Cheese took her for the money. There
would be a private exchange, so that Remy and Lionel, with Nick in on it, would
get the money, and Helene would be taught a lesson about leaving her child
alone. But Bea spoiled the plan by going to the cops, the media, and Patrick.
So, they had to stage the fake exchange at the quarry for Patrick and Angie to
witness. Chris Mullen set it up, but Cheese figured out that it was phony, and
Mullen shot him, with Amanda running off and falling over the cliff. Lionel
shows how much he cares about Amanda when he practically cries while saying how
Helene and Dottie left the poor girl to literally roast for two hours in a
closed car on a summer day at the beach while they smoked dope with some guys.
A
masked robber then enters the bar, and threatens Lionel about talking too much.
Patrick realizes that it is a disguised Remy, who didn’t trust Lionel to handle
things. Patrick yells out that Remy took Amanda, so as to reveal him as a child
abductor. The bartender then shoots Remy, who escapes. Patrick follows him to a
roof top. His dying words are that “I love children.” He follows his own creed,
taking his secret with him in death.
But,
in the police investigation following Remy’s death, Patrick is again questioned
about why he was at the quarry (which may be a flaw in the plot because this
aspect should have been investigated earlier). However, Patrick learns that the
local police station doesn’t record calls, so there could not have been a
transcript of a call coming from Cheese or Mullen. Patrick now knows that Doyle
was in on the plan, and learns that Doyle knew Remy from when they were both
working in Louisiana. He goes with Angie to Doyle’s home. We then get visualizations
of what probably happened at the quarry, with Remy and Nick pretending things
went wrong, Mullen executing Cheese so he couldn’t give an alternative story,
and Nick throwing a rock in the water followed by the doll to make it look like
Amanda drowned. We see Remy waiting for Mullen, who he probably killed to tie
up loose ends. Patrick realizes that Lionel, Remy and Doyle loved children and
wanted to rescue Amanda from a doomed life. After approaching Doyle, Amanda
runs out of the house into the arms of Doyle. After losing his child, Doyle,
too, in his way, was trying to do an act of redemption by saving another
innocent. But, Patrick says he is going to call the police, because the girl
belongs with her mother, and he took an oath that he would find her and return
her.
Doyle
makes his pitch: “Thought
you would've done that by now. You know why you haven't? Because you think this
might be an irreparable mistake. Because deep inside you, you know it doesn't
matter what the rules say. When the lights go out, and you ask yourself ‘is she
better off here or better off there,’ you know the answer. And you always will.
You... you could do a right thing here. A good thing. Men live their whole
lives without getting this chance. You walk away from it, you may not regret it
when you get home. You may not regret it for a year, but when you get to where
I am, I promise you, you will. I'll be dead, you'll be old. But she... she'll
be dragging around a couple of tattered, damaged children of her own, and
you'll be the one who has to tell them you're sorry.” Doyle wants to break the
vicious cycle of wasted life at least in this family. But, Patrick says that
they should have presented proof that Amanda needed a new home and taken her to
Child Services. He can’t stand the thought of an adult Amanda asking him why he
allowed her to be stolen from her mother.
The police
come, and arrest Doyle. Lionel goes to jail. Angie felt as Doyle did, and can’t
live with what Patrick decided to “choose” to do. Angie can’t rid herself of the
guilt of having agreed with Bea that their participation in this affair
“couldn’t hurt.” The last scene has Patrick visiting an unchanged Helene, who
hasn’t even firmed up plans for a babysitter for Amanda as she is ready to go
out on the town. Patrick volunteers to look after Amanda, and they sit on the
couch, watching TV.
Patrick was the
one, in the beginning, who wanted to restore a semblance of innocence, of
purity, to his decaying world. He wanted to do it the law-abiding way, but
along that path, he himself committed murder. Even though he transgressed,
given the circumstances, was that act justified? In the end, did he do more
harm than good in returning Amanda to her home? More importantly, what would
have been your choice? What would you have done?
The next film
is A Face in the Crowd.
Cheese didn't have the girl, so what did he think he was exchanging for the money?
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