About Spooks, Class and History

This movie contained the most chilling line of the year, when Wilson — a cipher for most of the film — reveals to an Italian immigrant (played by Joe Pesci) what motivates him to ignore his family and pursue spying so doggedly: "This is our country," says Wilson curtly. "The rest of you are just visiting."

This movie contained the most chilling line of the year, when Wilson — a cipher for most of the film — reveals to an Italian immigrant (played by Joe Pesci) what motivates him to ignore his family and pursue spying so doggedly: "This is our country," says Wilson curtly. "The rest of you are just visiting."

There were a few other deliberately racist, skin-crawling lines of that type, and one disturbing scene of graphic torture. All of which signify that this movie was a critique of overbearing political power and possibly the current political situation — not the first such movie in 2006.

There were a few other deliberately racist, skin-crawling lines of that type, and one disturbing scene of graphic torture. All of which signify that this movie was a critique of overbearing political power and possibly the current political situation — not the first such movie in 2006.

I read that DeNiro worked on it for a decade.And it shows. This movie held me in its grip for its entire 3-hour length. I enjoyed the old-fashioned, no-tech cloak-and-dagger in which top-secret files are delivered via a dry cleaning ticket left in a hat, and mysterious packages show up at regular intervals, always holding secret photos and documents (or in one instance, a finger) that reveal one-upsmanship between enemies or the betrayal of friends.

I read that DeNiro worked on it for a decade.And it shows. This movie held me in its grip for its entire 3-hour length. I enjoyed the old-fashioned, no-tech cloak-and-dagger in which top-secret files are delivered via a dry cleaning ticket left in a hat, and mysterious packages show up at regular intervals, always holding secret photos and documents (or in one instance, a finger) that reveal one-upsmanship between enemies or the betrayal of friends.

The movie’s length felt daunting to me, though mitigated by the top-drawer cast (relative newcomer Oleg Stefan as Soviet superspy "Ulysses" and old pro Michael Gambon as a poetry professor/double agent were standouts). The intense humorlessness of Damon’s character pervaded the film and was thrown into relief by the only funny exchange, between a smart-alecky new recruit (John Turturro) and Wilson. Where I got swept up was at the end, when Wilson’s story takes the shape of a Greek tragedy.

The movie’s length felt daunting to me, though mitigated by the top-drawer cast (relative newcomer Oleg Stefan as Soviet superspy "Ulysses" and old pro Michael Gambon as a poetry professor/double agent were standouts). The intense humorlessness of Damon’s character pervaded the film and was thrown into relief by the only funny exchange, between a smart-alecky new recruit (John Turturro) and Wilson. Where I got swept up was at the end, when Wilson’s story takes the shape of a Greek tragedy.

To me that was the weak point — the idea that crucial events that shaped the nation’s history all came down to fathers failing their sons was a bit heavy-handed. The movie simultaneously made another, more convincing argument: that the Cold War was created by a secret society of Yale-bred men who inflated the Soviet threat to justify and perpetuate their dominance of the ruling class.

To me that was the weak point — the idea that crucial events that shaped the nation’s history all came down to fathers failing their sons was a bit heavy-handed. The movie simultaneously made another, more convincing argument: that the Cold War was created by a secret society of Yale-bred men who inflated the Soviet threat to justify and perpetuate their dominance of the ruling class.

I don’t exactly disagree, but strictly as film drama, the first was compelling, the second was a cold history lesson. Because it was so hard to keep track of who double-crossed whom and why, it was difficult to feel much, even as we learned that the spy biz is heartless, cruel and self-serving. As a critique of the Cold War, "Good Night, and Good Luck" was more successful.

I don’t exactly disagree, but strictly as film drama, the first was compelling, the second was a cold history lesson. Because it was so hard to keep track of who double-crossed whom and why, it was difficult to feel much, even as we learned that the spy biz is heartless, cruel and self-serving. As a critique of the Cold War, "Good Night, and Good Luck" was more successful.

I enjoyed the meaty performances by Billy Crudup as Wilson’s British counterpart, William Hurt as the first CIA director (and fellow Skull and Bonesman), and especially Alec Baldwin as an FBI agent. Everyone took pleasure in delivering the cool spy talk. The only performance I didn’t buy was Angelina Jolie’s, as Wilson’s wife — not because she’s not a fine actress, but because she played in a different, more melodramatic, key than the others. Or perhaps I was just distracted by her prominent role in the other show of the year, "Brangelina."

I enjoyed the meaty performances by Billy Crudup as Wilson’s British counterpart, William Hurt as the first CIA director (and fellow Skull and Bonesman), and especially Alec Baldwin as an FBI agent. Everyone took pleasure in delivering the cool spy talk. The only performance I didn’t buy was Angelina Jolie’s, as Wilson’s wife — not because she’s not a fine actress, but because she played in a different, more melodramatic, key than the others. Or perhaps I was just distracted by her prominent role in the other show of the year, "Brangelina."

"The Good Shepherd" sums up the year 2006 in movies, too. Many good efforts with Big, Serious Messages; convoluted (if not impenetrable) plots; multiple and sometimes conflicting styles; and acres and acres of...lips. My wish for 2007 is that directors get out from behind their cameras and sit in the audience’s seat.

I say let’s get back to basics, start making a little more sense, and ease up on the lips a little!

"The Good Shepherd" sums up the year 2006 in movies, too. Many good efforts with Big, Serious Messages; convoluted (if not impenetrable) plots; multiple and sometimes conflicting styles; and acres and acres of...lips. My wish for 2007 is that directors get out from behind their cameras and sit in the audience’s seat.

I say let’s get back to basics, start making a little more sense, and ease up on the lips a little!

"The Good Shepherd" is rated R for violence, sexuality and language. It is playing at The Moviehouse in Millerton and the Cineroms in Winsted and Torrington.