Some Hollywood icons have an aura surrounding them which generates a palpable buzz for any project they sign on to. Over the past few years, there’s been a rise of immensely talented young directors who’ve left serious footprints on the craft. However, there is still plenty of room left in the game for longtime veteran icons. The Mule serves as a testament to a cinematic style that’s undoubtedly influenced and inspired generations of both current and upcoming filmmakers.
The film’s title is pretty self-explanatory, based on the New York Times Magazine: “The Sinaloa Cartel’s 90-Year Old Drug Mule” by Sam Dolnik, this is the story of an elderly man who unknowingly gets involved with the Mexican drug trade. While that narrative exists on the surface, thematically this film is about an old man searching for redemption and trying to make up for lost time after dedicating his best years to his work rather than his family.
Clint Eastwood has procured a reputation as a legendary filmmaker for a reason, and considering this could very well be one of his last projects, don’t take it for granted. Not all of his films are masterpieces but he is unequivocally a master craftsman of cinema. His level of experience is nearly unrivaled in the industry, having directed 40 films over the course of 47 years. So, not only has he seen it all but he stays busy too. There is no question he still has a good eye for filmmaking but he needs a little more help in the editing room. A story such as this is bound to have some driving but understanding how and when to limit that is important and not fully kept in check by Film Editor Joel Cox. Establishing shots are a given but, at a certain point, we get the picture. We don’t need to see the car on the open highway yet again to piece it all together. That said, it’s still paced briskly and doesn’t feel as though there is a ton of wasted time. Eastwood is a visionary director who imbues his movies with an intangible quality and that is still evident here. Best Director may be a stretch this year but this was another solid effort to add to his resume.
In front of the camera, an 88-year-old performer playing 90, he’s easily at his most frail this time out. He still appears to have his wits about him and there’s still charisma and charm there inside an aging body that’s clearly in decline. The script by Nick Schenk played into Eastwood’s penchant for racial jokes and the kind of “old white man displaced by the times” kind of thing. It works in the context of the film and the movie is funny, in part, because of the racial humor but, more acutely, because of the working dynamic he has with the other people in the cast. While he may be offensive at times, his lack of a filter is somehow endearing and he befriends almost everyone he comes across. It’s clear that he commands the working respect of the other cast members and his presence sharpens the performances of all those around him.
Hot off his successes with A Star is Born, Bradley Cooper had a nice supporting role as the DEA agent trying to shut down the cartel operation that employs Earl (Eastwood). He wasn’t featured much in the promotional material but does play a significant role in the story. Part of the fun with films such as this is the parallel narrative of the law enforcement agency (agencies) attempting to catch the criminal at the center of the story. That wasn’t lost here. Providing Cooper with his own character, worth cheering for, went a long way in building the dynamic between the two. When they share the screen there is noticeable mutual respect between the characters and the men portraying them, perhaps even more now that Cooper has stepped behind the camera on his own.
Michael Peña was a nice addition to the cast alongside Cooper. They had nice chemistry as partners working their way through the cartel’s operation. The rest of the cast also features spot roles for second generation actors such as Alison Eastwood (Clint’s daughter) who played his estranged daughter Iris for the film and you can tell there was a lot of mixed emotions on the table for her. I would have really liked to see that relationship be the focal point of the film but it wasn’t the case. Vera Farmiga’s younger sister Taissa took on the role of Earl’s granddaughter who advocates on his behalf despite the constant and consistent disappointments he levies on the rest of the family. Besides his daughter, the person on the receiving end of his obliviousness was his wife Mary, played wonderfully by Diane Wiest. She worked so smoothly with Clint despite the rocky nature of the relationship between their characters.
There’s a very interesting family dynamic at play and the supporting cast all played their parts well. Considering the one thing Earl wants is the family which he gave away, that’s a surprisingly small part of the film. Instead, we see a lot of his dealings with cartel representatives and even the boss, played by Andy Garcia, at one point during a lavish party in Mexico. Part of the enjoyment is getting to watch him let loose and interact with the younger characters but, without the redemption story, Earl isn’t really the hero.
This was much more enjoyable than I anticipated. Sure, this is about a 90-year-old horticulturist but it was much more than that too. Cinematographer Yves Bélanger didn’t shy away from close-ups and the impactful effect they can have when executed properly. There’s a fly-on-the-wall feel to the shot selection which is paired nicely with the music by legendary Arturo Sandoval. From top to bottom, this is a very well made film that serves as a nice palate cleanser for Eastwood fans after 15:17 to Paris. It just doesn’t quite make the cut when it comes to the final contenders for Best Picture at the Academy Awards.
Recommendation: If you’re a fan of Eastwood’s films like Gran Torino and American Sniper, this was a methodical misadventure that’s probably up your alley. It may lack the gravity of those movies but tackles more personal angles. Film fans should like it but may find it a bit boring as well.