Hereafter
This sequence, where Marie fights for her life amongst the crushing waters, and finds herself in a place between life and death is not only completely thrilling, but utterly convincing. It's the single most impressive special effect sequence I have seen in any movie this year. It's the kind of sequence you found yourself asking "how did they do that" over and over while you're watching it unfold. The way that Eastwood puts you in the middle of everything allows you not only to sympathize with the character up on the screen, but almost feel the sense of terror, and release when she finds herself in a near-death state. It's a real attention grabbing opening, and cements Eastwood not only as a masterful storyteller, but as a true visual artist.
And yet, as I said, this is not an effects-driven movie. Other than a few brief returns to the place between life and death, there are no more big set pieces. Marie is revived back to life, reunited with her boyfriend, and returns to her home a changed woman. She tries to go about her life as normal. She's a successful and popular TV reporter, famous for uncovering political scandals. We know she must be famous for other reasons, as she has endorsement deal posters lining the streets of Paris. However, Marie's mind is not on her work anymore. She cannot forget the place she visited during that brief time she was legally considered dead. The man she loves (who is also her director) suggests she take a leave of absence from the show to work on a book she's been meaning to write for a long time. Marie is hesitant, but agrees, and begins research on a book about a French political figure with a shady past. But, that kind of stuff no longer interests her. She abandons her project, and begins work on a new book, exploring different theories on the afterlife.
Meanwhile, we're brought into a completely different plot set in San Francisco, and concerning a man named George Lonegan (Matt Damon). It's at this point I begin to worry that Hereafter might be attempting to tell too many stories, or suffer from a fragmented tone, but the screenplay by Peter Morgan (Frost/Nixon) expertly juggles the multiple stories it attempts to tell. George is a genuine psychic, who developed the ability to communicate with the dead after a series of childhood illnesses and surgeries. He once made a successful living as a noted and respected psychic, but he doesn't want that life anymore. Despite the pleads of his brother (Jay Mohr) to get back in the business, George just wants a normal life. But his "gift" is hard to ignore. There are still people who know what he used to be, and approach him, begging that he help them contact deceased loved ones. It hurts him to turn them away, but it's all he can do. While taking a cooking class, he meets a woman named Melanie (Bryce Dallas Howard), and develops a genuine friendship and possible relationship with her. But his past still haunts him, and threatens his relationship with Melanie in a way we don't initially suspect.
There's still one more storyline, this one set in London, and focusing on twin brothers Marcus (Frankie McLaren) and Jason (George McLaren). They're each other's best friend as they try to help their drug addicted mother stay one step ahead of social services, which is trying to break up the family. While young Jason is picking up a prescription for their mom, he is targeted by some older bullies, and in his attempt to escape, is struck down by a car. Marcus is separated from his mother, forced to live with a temporary foster family, and becomes obsessed with attempts to communicate with his brother from beyond the grave. He seeks out various psychics, but they are obviously frauds and con artists. That's when he comes across the website that once belonged to George, and we begin to see how the three separate stories being told will ultimately connect.
Hereafter is a simple, quiet, almost meditative look at how people respond to personal tragedies, and what waits for us when our time on Earth is over. It does not get wrapped up in complex religious issues, however. It is a reflective drama, and an effective one at that. It simply wants to ask about the possibility of life continuing after we die. We do not get the religious views of the filmmakers shoved in our faces, and I for one am grateful. It allows the movie to flow without preaching to us its ideals. Besides, this movie is not about religion. It's about three broken lives, and how they ultimately come together through their own personal tragedies. Most of all, it's about how they handle it. George sees his abilities as a "curse", and is tormented by what he is, and what he used to be. Marie becomes a completely different person, willing to throw away the life she once knew for the questions she now finds herself asking about herself. Finally, young Marcus just wants to know that he is not alone in the world.
This is a fascinating film that is bound to create discussion by those who watch it. Eastwood and Morgan tackle some intriguing ideas here, and although the just over two hour running time does not allow all the questions to be explored thoroughly, I believe that this can only spur more discussion afterward. It's not just a great film to think about, it's also wonderful to watch. The casting is perfect, especially Damon, who brings a lot of complexity to his role. I also admired the adult mindset of the film itself. The scenes that are set in France actually have people speaking in French with subtitles, meaning that at least 45% of the film is subtitled. The movie has not been dumbed down in any way.
Looking at the reviews over on Rotten Tomatoes, I see an extremely mixed response. In a way, I can understand why some people are unable to embrace the film. Eastwood unravels his story with a precise, but slow and deliberate rate that may irritate some viewers. This is a movie you have to surrender yourself to. You can't go looking for quick and easy answers delivered by soulless exposition. The characters, as well as the multiple storylines, are revealed, little by little. I never once found myself bored, though. Even though the storyline surrounding Damon's character grabbed my attention the most, and obviously got the most attention, I was never bored during the two other plots, nor did I find myself waiting for the film to jump to a more interesting story and character. Hereafter has been thought out extremely well, and I admire the way that the screenplay takes its time without dragging its feet.
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