Review of The Good Shepherd (2006) by Christian H — 09 Aug 2010

Espionage has always proved to be lucrative business for Hollywood, especially during the Cold War. With romantic and often operatic brushstrokes, the film industry has built up flag-smashing spymasters to a mythic proportion. This makes the amazing scope and superb execution of The Good Shepherd all the more impressive, but also overlong. Unraveling espionage lore with factual, but derisive bullet-points, screenwriter Eric Roth spends an epic amount of time de-mythicizing not only history, but also filmdom?s past interpretation of history. Smartly drawn on an inspired gray-flannel canvas, director Robert DeNiro gives audiences less a historic film-strip and more a rewardingly cynical, paranoid, and taciturn civics lesson unseen in American cinema since the politically-charged ?70s landmarks All the President?s Men and Reds.

In this R-rated thriller, not only has acting legend DeNiro tackled the directing reins for the first time since his impressive debut A Bronx Tale, but he is also playing the role of recruiter to Yale-educated spy Edward Wilson (Damon) and, by proxy, his wife Clover (Jolie), through whose eyes audiences witness the early years of the C.I.A.

Bourne back to a whisper, Damon?s letter-perfect performance of a cloistered family man perfectly carries the film. Likewise, William Hurt, John Turturro, Alec Baldwin, Michael Gambon, and Joe Pesci expertly play their respective supporting roles to great effect. The only drawback proves to be Jolie?not for her acting, but for her being cast. The actress cannot mask her extraordinary beauty and inner strength enough to play the ignored, dependent, 40-something wife of the reticent Wilson.

Bottom line: Despite a few stray sheep, mostly a flocking winner.