The movie starts like Hamlet’s father’s ghost, wandering out of the fog and into our lives. Or, rather, it starts with a boat, coming towards us out of the fog, and heading towards the island of the movie’s title. On that boat is Dicaprio, hunched over, vomiting his brains out.
The plot is simple: It’s 1954, and Dicaprio is a US Marshal, working for the first time with a new partner, played by Mark Ruffalo. They’re on their way to Shutter Island, home of a hospital for the nation’s most criminally insane. One of the inmate/prisoners has escaped, seemingly vanished into thin air (no, not vanished, more like “evaporated,” just like water would), and the marshals are there to find her. And, of course things are not what they seem…
The first scene there on the boat, as Dicaprio walks onto the deck and meets his new partner tells us so much about the movie we’re about to get. It literally plunges us into the motifs we’ll see over and over again and informs us that we’re in the playground of both paranoid noir and the best kind of playing homage, the one that sparks originality.
Dicaprio is a man haunted by a past that we see in flashbacks, both to his life with his wife, played simply and straightforwardly by Michelle Williams, and before that, to his time in World War II, and his part in liberating Dachau and witnessing both man’s cruelty to man after the fact and during the cold, violent act itself.
That opening scene, which I need to return to again for just one more paragraph, still amazes me. It’s so simplistic, feeling at first almost like an SNL quality of production for a Casablanca scene, or something in which somebody like Humphrey Bogart could actually appear in. Everything, this scene tells us, is going to be about water, something you can drown or be drowned in, immersed in, or it’s going to be about fire, ash, the dark nuclear future on the horizon, and the smoke which, like the fog, is going to surround you, and you’re not only going to get lost in, you’re going to lose yourself.
The downside of this movie is that it’s way too long. The way a nightmare feels too long, but the pacing is expert. And it’s simple, which isn’t necessarily a bad thing. Scorsese is trying new things, the paranoid thriller, working effectively in a field where, like we’ve said, someone like Polanski really excels in. And Scorsese, ever the master, ever the craftsman and lover of film, knows what he’s doing. You’re going to sit there and you’re going to be drugged and unnerved because that’s what he wants from you.
But with the mechanics of your typical hysterical thriller hokum, the creepy staircases, the rain and lightning, the darkened hallways, Scorsese takes you places. He takes you to the Holocaust, gliding effortlessly into memories that intersect with the present, and into the place where your memories walk away like nightmares and lie to you. Somewhat like the “twists” and “turns” of the movie, which at times come out of nowhere, and other times lead you down phony paths that may actually be the real one.
Unshockingly, when Dicaprio’s character gets to the island and gets the lay of the land in the first ten to fifteen minutes, and then gets a headache, one that requires the head doctor, played both creepily and both perfect genuine smarm by Ben Kingsley, to give him an asprin, you automatically assume that Dicaprio’s character is being drugged. Your cinephile instincts just tell you that immediately…
To me, The Others was a perfect creepy movie for a crowd. I first watched it with a group of people, none of us having ever seen it before and we were freaked out, but we were enthralled. That same sense of rapture is present here, but this is not a crowd movie, not to me. You need to see it in the theater because there it’s big and loud and gorgeous, but it feels so solitary. Once this film starts and that boat punches through the white vaporous fog, you’re alone. And even if you weren’t, you can’t be sure that person sitting next to you is real anyway.
And the acting is serviceable throughout. Sadly, more than what the actors give in performance, they give in appearance. The period-ness of this picture is perfect through and through. Dicaprio, whom my fingers keep wanting to mistype as “Dicrapio” gives everything he has: the angry guy, the tough guy, the sad, hurt child. Nothing with charisma or nuance, though. In the beginning of this movie, he almost feels like he’s regressed (ha ha, spoilers) back to where he was in the beginning of Revolutionary Road, still feeling like, as Natasha Vargas-Cooper put it so brilliantly: it feels like you’re watching “a high school actor, a very fine one, play Hamlet.”
I’m still curious what Scorsese gets out of their partnership, but somewhat akin to The Departed, the thing that Dicaprio best conveys to this story: The need, the crazy reaches for survival. In his hands, you think you’re wanting to grab yourself some understanding, seeking out truth and trying to get to the bottom of a mystery, but really, you’re just trying to survive to the conclusion.
Seriously, if you didn’t see that “twist” coming in some form or another, then… well, I don’t want to be mean here, but I’m assuming you were born yesterday and this was the first film you’ve ever seen, right?
I mean, of course Dicaprio was going to be an inmate himself and the film was going to be his emotional quest to discover something for himself, an emotional plateau and on it, possibly a chance at redemption or acceptance?
And Mark Ruffalo, doesn’t he always play not just a cop, but kind of a son of a bitch? I was talking to someone about that after the movie and she was confused. “Does he always play a cop?” she asked. I just smiled and said, “You should go watch In The Cut. Really. You should.” But in all seriousness, a minor note I’d make about Ruffalo’s performance: Something about his facial expressions throughout the first half… They just felt so perfect with the period to me.
Will the lighthouse become that new piece of terrifying imagery?
I’m curious what people will think of this movie after the fog of it’s release settles. This isn’t necessarily an award winning movie, but it’s solid, completely. It’s made by a master and the cast is more than capable and game.
And the ending? It’s sinister. It’s devastating. It takes a moment to realize what’s going on there, and it’s dark and it’s human and it’s all Dicaprio. It’s a man making a decision, whether to live a certain way or die another way, and I think it’s a division that resonates when you walk out of the theater. Some people will hate this movie and I want to say something about them not being lovers of American cinema, or just the art of making movies at all, and some people will walk out of this film, still thinking about it, carrying a bit of it with them for a while, jumping at and questioning the shadows that appear as you just try to grab hold of something real out there in the fog.