A surprisingly complex Eastwood melodrama

Rating: 10/10 (21 June 2019)

Eastwood's libertarian leanings coupled with the underlying story's feminist perspective render a film that managers to make a lot of cogent points without being preachy. Collins absolutely was taken less seriously and treated worse because of being a single mother, or to use the parlance of the time an independent woman. In a different director's hands this point would have been in bold yet Eastwood renders it in graceful italics. The film's script does not fixate on the abuse of state power but Eastwood really gets that point across directorial. Instead of the two political sensibilities clashing they end up melding into a easy, restrained naturalism that utterly fits the narrative. Certain scenes are disturbing in the way they should be. There is little justice in this story and Eastwood does not flinch from all the ugly aspects of the story.
Much of the film is restrained, Jolie, to her credit, is not. She gives a bold performance that renders Collins with the appropriate forceful personality. She is motherly, strong and elegant. This is truly her film from beginning to end.
But I would be rueful if I didn't mention that Harner (Northcott) gives a memorizing performance. His character is human without being sympathetic. The final scene between him and Jolie is the film that has stayed with me all these years.
The film has very nice cinematography. It isn't overly stylized but Eastwood and his cinematography do enough to have echos of noir present. The film has the same natural lighting style as LA Confidential. It is very visually pleasing to look at on top of the film leaning into its melodramatic aspects.
This is late period Eastwood at his most interesting.