Absolute Power has a number of narrative issues. Well, less narrative issues and more narrative slights. As the film enters the third act, director Eastwood and screenwriter William Goldman decide the audience has gotten enough out of the movie and it’s time to wrap things up. It’s a shame because the film goes into the third act at its high point.
The first thirty minutes of the movie have Eastwood playing an old man cat burglar who sees something he shouldn’t. There’s a little character establishment montage during the opening credits for Eastwood–he likes to sketch, he doesn’t know how to work a VCR, he’s solitary but still takes care of himself–then it’s into the break-in sequence, which leads to a really tough murder sequence. It goes on and on, getting worse and worse.
Then there’s a cover-up sequence, where Eastwood really shows off all cinematographer Jack N. Green is going to do with Absolute Power. Even with its issues, the film’s beautifully made, beautifully acted. Green’s photography, with its occasional soft focus, is stunning. Absolute Power’s entertaining because of the actors, but Green helps out a lot with presenting their performances. Because eventually everyone’s fighting for time.
You know, a better defined present action and subplots probably would’ve helped. Because everyone’s just present. Eastwood and Laura Linney, as his daughter, get some hints at his weak parenting, but it’s not like Linney’s got anything to do but be around for Eastwood and his thriller storyline. Same goes for cop Ed Harris. Well, eventually he gets to flirt with Linney a little and all of a sudden, it’s like Eastwood’s goal for Absolute Power is just for everyone to enjoy themselves. There’s so much charm in the scenes between Harris and Linney–and Harris and Eastwood–narrative slights don’t really matter.
But it’s also about ability. The other half of the film has Secret Service agents scrambling to cover up a Presidential indiscretion and some of these scenes aren’t the best. Goldman’s got to do a bunch of exposition, but not too much for anyone to ask logic questions. The acting gets it through–Judy Davis, Dennis Haysbert, Scott Glenn, Gene Hackman. All of them are phenomenal, but all of them come at their parts differently. And most of their scenes are together; Haysbert just waits. And Eastwood loves showing Haysbert’s patience. He’s got fewer lines than Glenn–as another Secret Service agent–but he makes more an impression. He’s terrifying. Glenn’s good, but sympathetic. Davis and Hackman both get to go wild; no one plays menace better than Hackman and it’s almost like Davis’s playing protege. It’s very helpful having that acting depth since there’s nothing but action or actions for them in the script.
E.G. Marshall’s good in a smaller part as a wealthy mover and shaker. He gets some of the film’s worst lines but Marshall just makes them work. Even in the third act, when Absolute Power is racing downhill to get finished as soon as it can, Marshall is patient in his performance. His deliberateness makes all the difference. Or, enough difference to keep things afloat until Eastwood can get to the incredibly gentle finish.
Awesome editing from Joel Cox. The thriller sequences are phenomenally cut. And Lennie Niehaus’s score is good. It does quite a bit of work throughout the film, though it can’t hold up the third act. Nothing can. It’s just too much all at once.
Eastwood, as an actor, gets some good scenes and then some fun ones. He and Linney are fantastic together–maybe the cutest thing about the film is how similar Linney and Eastwood seem after the film spends time with them. When it comes time for ominous line deliveries, they give them in the same way. Eastwood initially gets away with it because he’s Clint Eastwood, but by the end, they get away with it because she’s his kid and he’s her dad, after all.
Harris is fun. He plays great with his partner, Penny Johnson Jerald, who isn’t in it enough. Though almost no one is in Absolute Power enough. Not Jerald, not Davis, not Hackman, not Marshall. Especially not with how much story Goldman and Eastwood are telling. Again, they manage to get away with it, but it’s a rush. Goldman’s script is too spare, especially given Eastwood’s preference in the family drama over the thrills.
Absolute Power has that adaptation curse–too much content but not enough story; still, it’s masterfully produced, with rich performances.
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