Review: Changeling

Changeling is yet another great movie from Clint Eastwood that benefits from a superb performance from Angelina Jolie in the central role and a meticulously researched script by JMS.

Indeed, the 95% factual script and Eastwood’s delicate, unfussy direction have led the film to be docked points by some critics since its sensational opening at Cannes. Some have accused it lacking nuance or warmth, that it’s too removed. Well, poppycock, I say. JMS’s script simply tells the story largely in chronological (look, no jumpcuts and fractured story!), the author believing that a story this fantastic needs no bells and whistles – the drama is inherent in the story.

Angelina Jolie is almost a revelation as the mother whose son disappears, who must then fight the corrupt LAPD when they return ‘a’ child to her and claim it to be hers before the massed ranks of the press. The trailer may make the film look too ‘female’, however, the only scenes of hysteria are in the trailer – and, within the context of the story and the film structure, they do not grate.

Jolie’s Christine Collins is an immensely capable woman, but not necessarily worldly wise. She wins instant empathy from the audience, and while her suffering is great, it is not too harrowing – although there clearly are a number of heart-breaking scenes, especially with her ‘non-son’.

The story takes a turn for the entirely unexpected deep into the second act, and briefly the focus shifts to another boy in the hands of the one good cop. What follows beggars belief – but is documented fact and only makes you wonder how Jolie’s Collins could be born so unlucky.

Support is exceptional from: Jeffrey Donovan as the shister cop Jolie crosses; John Malkovich as the preacher who backs her case; the ever-excellent Amy Ryan as Jolie’s only friend in the asylum; Michael Kelly as the only cop who believes her; and Geoff Pierson as the attorney who fights her corner in court.

The sense of period (20s/30s Hollywood) is effortlessly evoked, and shot with love (but not rose-tinted spectacles) by Tom Stern. The opening and closing crane shots, in which the stock transforms from B&W to colour and vice versa, are stunning. Oh and a final word should go to Eastwood for another beautiful score.

This is mature, affecting, thoughtful cinema and quite why it’s being overlooked in awards season I simply don’t understand. Perhaps once again, it’s because it ends on a hopeful note.
Score: 9