The temptation is natural to dig a deep, smug gulf between oneself and a criminal. It is so much more comfortable and reassuring to consider the latter as an inherent difference in kind, born evil, and somehow sub-human; than to assess the mixture of good and evil motives and potentials common to both.
But this caricature is dangerous, for either an individual or a society indulging in it. Films, therefore, which cross the chasm by exploring an anti-hero's moral ambiguities are particularly commendable. I suspect also that they require unusual sensitivity and skill to produce from all concerned, as well as above-average courage, since they will have an uphill fight on the way to popularity.
A Perfect World is such a film, and my hat is off to Clint Eastwood for the effort. As both actor and director, I think that he shows unappreciated subtlety. There is also humility here, as he takes a back seat on the screen to Kevin Costner and T.J. Lowther, both of whose acting is riveting (the latter not so much for delivery of lines, often deadpan, as for the amazing emotional intensity which this small boy summons in his face).
It is not an entirely successful movie (does such a thing exist?). I agree with critics who found the interplay of characters in Eastwood's party of cops and politicos relatively too shallow and undeveloped to prepare us for the crucial confrontation at the end. And I felt that Costner's cruelty in the climactic scene was off-the-wall: under-provoked, overdone, and somewhat counterproductive by forcing us to conclude that he really did have to be put away for life after all. The boy's continued devotion to him after this could only testify to a gaping emotional hole in his upbringing.
Anyone liking this film should try to see "Martin's Day" as well, and vice versa, as they are remarkably similar in situation and character development.
But this caricature is dangerous, for either an individual or a society indulging in it. Films, therefore, which cross the chasm by exploring an anti-hero's moral ambiguities are particularly commendable. I suspect also that they require unusual sensitivity and skill to produce from all concerned, as well as above-average courage, since they will have an uphill fight on the way to popularity.
A Perfect World is such a film, and my hat is off to Clint Eastwood for the effort. As both actor and director, I think that he shows unappreciated subtlety. There is also humility here, as he takes a back seat on the screen to Kevin Costner and T.J. Lowther, both of whose acting is riveting (the latter not so much for delivery of lines, often deadpan, as for the amazing emotional intensity which this small boy summons in his face).
It is not an entirely successful movie (does such a thing exist?). I agree with critics who found the interplay of characters in Eastwood's party of cops and politicos relatively too shallow and undeveloped to prepare us for the crucial confrontation at the end. And I felt that Costner's cruelty in the climactic scene was off-the-wall: under-provoked, overdone, and somewhat counterproductive by forcing us to conclude that he really did have to be put away for life after all. The boy's continued devotion to him after this could only testify to a gaping emotional hole in his upbringing.
Anyone liking this film should try to see "Martin's Day" as well, and vice versa, as they are remarkably similar in situation and character development.