DiCaprio and Eastwood, a dream collaboration that stays a dream for the most part of the film.
Eastwood’s magic touch won’t be able to enlighten the intricacies of white collar politics. But then I wouldn’t blame the director Clint Eastwood and instead would blame the self-contradicting script of Dustin Lance Black. A script that works backwards has a tediously hard job to pull off the plug when it comes to leave you on anything. And this remains the theme, in each scene you always feel like you should have left a few notes before. To really savor what was pitched so drastically on screen. It covers the life of a political figure like a news and news it feels throughout the course of the feature.
It is extremely dry and formal to romanticize any idea or character or emotion, As a result you are never immersed in the storytelling of this controversial being. And that’s much more disappointing when you see someone as Leonardo DiCaprio pouring his heart out in his scenes with Armie Hammer. And even though I felt Hammer not succeeding completely to ping pong back to DiCaprio with equal sincerity and force, Eastwood has wisely carved out this film around the crux of this relationship.
As a result the film showcases them dancing amidst the judgy eyes and pointing fingers beautifully with no music at all. And this is why I feel Eastwood enlightens his part of the world as much as he could, knowing what the audience would remember at the end of the day. But aforementioned this is a drop in the ocean, the script has very little crisp for the audience to look forward to it. Caring about whether the eyes would fall asleep or not suddenly becomes more vital than the authenticity through which they speak about J. Edgar; it is an upset because it fails to work on merit let alone live up to the expectations coming from the cast and crew.