Fired up for Clint’s latest

I have been seeing the fascinating trailers for Clint Eastwood’s new film, “Hereafter” and reading bits about it here and there.  But in today’s San Francisco Chronicle there is a great review of “Hereafter” by my favorite film critic, our very own Mick LaSalle. If you are not familiar with the Chronicle’s rating system, it is a “little man” sitting in a theater seat.  Depending on how he feels about the film/play/event, he will be totally gone from his chair (the absolute worst), asleep in his chair, sitting in his chair exhibiting normal interest, sitting in his chair and clapping, or leaping out of his chair and madly applauding.  For “Hereafter” the little man is leaping.

Here are the opening two paragraphs of Mick’s review:

That Clint Eastwood has become a great filmmaker is something few would contest, yet the nature of his greatness is as surprising as it's little understood. You can talk about the pristine technique - the new film, "Hereafter," provides lots of examples. But what's much more fascinating and enriching is Eastwood's Olympian vision, the sympathetic and all-encompassing understanding of the pain and grandeur of life on earth.

This vision is consistent in Eastwood's late work, no matter who is doing the screenwriting, and it boggles the mind to realize that this is coming from a guy who, until he was about 60, was best known as an action hero. Make no mistake, Eastwood's directorial output, from "Mystic River" on, constitutes the 21st century's first cinematic marvel, and "Hereafter" is among the best things he has ever done.

And the closing lines:

The ironic result of all this meticulous care is that we don't see Eastwood's hand but rather have the illusion that this gallery of humanity is telling the story for him. It's the most self-effacing way to do great work, and it's an approach that couldn't be more suited to this material. The film's notion that people share a common destiny, that they're participating in some overarching order, that they're being watched over by a benevolent all-seeing understanding, doesn't need to be spelled out. It has its analogue and expression in Eastwood's technique.

He just tells the story, and we get it.

These days Eileen and I usually wait for films to come out on BluRay DVD and then watch them on our big screen.  However, we do venture out to see films whose special effects can only be appreciated on the big screen, and for films of special importance that need to be shared with a committed, rapt audience.  “Hereafter” is obviously in the latter category.  We’ll be making the trip to the theater.

~ Tom

p.s.  Do yourself a favor and start reading Mick’s reviews.  You can find them here.