Love Streams

By Stuart Klawans

This article appeared in the October 27, 2003 edition of The Nation.

October 9, 2003

Clint Eastwood's Mystic River, which opened this year's New York Film Festival on a somber but resonant note, is perhaps the finest western ever to be set in South Boston. Huddled clapboard houses substitute for the raw-plank architecture of the frontier town; an industrial bridge provides background sublimity in the absence of mountains. As always in an Eastwood western, the action takes place in an enclosed community that prefers to operate by its own rules; and as always, terrible secrets haunt the characters. Terrible wrongs are avenged and redoubled.

Of course, some viewers prefer to classify Mystic River with Eastwood's police movies; and they're not entirely wrong. In the role of Sean Devine, a detective with the Massachusetts state troopers, lean and clean-featured Kevin Bacon closely approximates one of Eastwood's own tight-lipped cops, never raising his voice, continually struggling to hold himself in. But the Eastwood detective usually pursues some taunting, demonic version of himself. Devine must contend with a pair of contrasting alter egos, both of them figures from his childhood on these streets: Jimmy Markum (Sean Penn), the big man in his little neighborhood, and Dave Boyle (Tim Robbins), who shuffles meekly around the bars and back porches and sometimes thinks he's one of the Undead.

He is, at a minimum, unfinished. That much is obvious from a square of sidewalk into which Dave and his buddies scratched their names some thirty years ago: Jimmy, Sean, Da. Now the memory of the event that interrupted Dave's hand is literally set in concrete, right on the street: the visible sign of something lost in him, something irremediably broken in the neighborhood.

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About Stuart Klawans

The Nation's film critic Stuart Klawans is author of the books Film Follies: The Cinema Out of Order (a finalist for the 1999 National Book Critics Circle Awards) and Left in the Dark: Film Reviews and Essays, 1988-2001. His film criticism and reviews for The Nation won the 2007 National Magazine Award. When not on deadline for The Nation, he contributes articles to the New York Times and other publications. more...
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