Review Cannes 2008: Review: The Exchange

In recent times, prospective Oscar candidates releasing their wares in the same year as a good Clint Eastwood movie might as well abandon hopes of nabbing the statuette. After seeing the grizzled helmer's latest - The Exchange - (or Changeling as it's been known up until a few days ago) -- we're inclined to believe this year may well be no exception. Indeed, Eastwood cheekily even includes a moment of reverence for the ceremony within. Set in Los Angeles in the late twenties, Angelina Jolie is Christine Collins, mother to a nine year-old lad Walter who goes missing from his home one weekend. Distraught, she naturally turns to the LAPD. Five months later they call and tell her that they've found her son. But when she goes to collect him, she claims she's never met the boy before and his doctors and teachers confirm that the child she's been given is not Walter. With a corrupt police force refusing to reopen the case she turns to church minister Reverend Briegleb (John Malkovich) and resolves to keep looking. Based on a true story, the film follows the case to its bitter end and Eastwood -- true to form - has no qualms about spending two and a half hours doing so. Yet a masterfully crafted narrative pace, and a simply revaltory stunning central performance from Jolie's guarantees total investment in the material.

As one of the world's most celebrated beauties, Jolie brings baggage to the screen by virtue of her celebrity that initially threatens to intrude on her portrayal of a suburban single mother. But she very quickly shrugs it off with confidence and questions about her believability in the role soon dissipate. It's no wonder; Christine is just the sort of strong, independent woman the actress loves playing, whether she's tackling independent drama or blockbusting action. Eastwood projects a luscious-looking and fully realized version of LA in the twenties that's in turns glamorous and grim, but the film's greatest success is in its attempt to capture the climate of the period. The complex politics of the corruption rife within the LAPD in the period are very quickly established and woven into the story with no overwrought attempt to impose modern judgements on the characters actions. Critics in Cannes will likely get straight to work questioning the director's politics, and there's no doubt that Eastwood chooses subject matter that engages him on more than just a superficial level. Whatever you think of the man's political views however, there'll be no question of Eastwood's talents as a master storyteller. Eastwood's recent run of form continues with The Exchange, which seems certain to be - at the very least - amongst the favourites come Oscar season.