All interactions between humans are about relationships. People want, need and/or demand something from others on a constant basis where such involvement can be subtle or blatantly obvious. Since their time is vastly reduced as compared to their real-life counterparts, movie characters using fall more into the latter category.
That's especially true for the interaction between protagonists and antagonists who obviously clash in terms of their desires and goals. It's also usually the driving force in kidnapping-based films where one person abducts another, and that's certainly the case in "The Clearing."
Marking the directorial debut of producer Pieter Jan Brugge, the film focuses on the kidnapper/hostage relationship between the characters played by Willem Dafoe and Robert Redford, as well as that of the latter and his wife embodied by Helen Mirren. If there's one thing to be said about the film, it's that Brugge has succeeded in quite the casting coup.
Yet, as I was watching the story unfold and then while looking back at it in hindsight, I kept wondering what caused that trio of performers -- and the likes of Alessandro Nivola and Matt Craven -- to sign up. Yes, it's a more mature film in a market crowded with pictures aimed mostly at teens.
Even so, the script by first-timer Justin Haythe isn't anything great or even memorable. Although it constantly alternates between the Dafoe/Redford, Redford/Mirren and Mirren/FBI relationships, there just isn't much here that we haven't seen countless times before.
The filmmakers try to add some complexity with some nonlinear storytelling. Yet, the Tarantino-like attempts at jumping around through time aren't terribly effective and lack the temporal or dramatic punch found in that other filmmaker's pics. If anything, they signal that we're watching a first-time filmmaker trying to make it work.
And despite those aforementioned relationships being the focal point of the film, there's nothing noteworthy about them. Considering that the kidnapping element is the big attraction here, it's surprising (and disappointing) how lackluster it truly is. Since we've seen the psychological battle of wills many times before, I was expecting something more from the one here (particularly considering the cast involved with it). Unfortunately, it's rather listless.
Redford ("Spy Game," "The Last Castle") and Dafoe ("Auto Focus," "Spider-Man") are obviously talented performers and bring a certain gravity and inherent credibility to their characters. Nevertheless, the weak script constantly shortchanges their efforts. With nothing novel to the antagonistic relationship or manipulation attempted by both sides, and no big or shocking revelations, surprises or imaginative moments, there just isn't anything of note beyond the allure the veteran performers bring to their parts.
I'm not sure if it's the script, her performance or a combination of the two, but I just didn't buy Mirren ("Raising Helen," "Calendar Girls") and her take on the character. Sure, their marriage was already strained before the kidnapping and thus she'd be a bit emotionally cold and distant, but the character's reactions and later actions simply didn't work for me. I kept waiting for the late in the game twist to pop up and explain things, but the one that shows up only provides a cursory explanation. Mirren is a terrific actress, but this clearly isn't one of her better roles.
The likes of Alessandro Nivola ("Jurassic Park III," "Mansfield Park"), Melissa Sagemiller ("Sorority Boys," "Soul Survivors") and Matt Craven ("Timeline," "The Statement") are all okay in their parts, but aren't given much to do. That particularly holds true for Craven who plays the obligatory FBI agent on the case, but he can't do anything with the redundant part.
Considering the cast and inherent potential -- however familiar and limited -- I was hoping for and expecting a great deal more from this offering. Perhaps with a better script and more seasoned director, it might have been something. While the cast makes it easy enough to watch, the story -- and the fact that we never really care about any of the characters -- lets the film and everyone associated with it down. "The Clearing" rates as a 4 out of 10.
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