Shutter Island 2010 Reviewer: Joanne Ross Director: Martin Scorese Cast: Leonard DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow, Michelle Williams, Emily Mortimer

A Boston ferry emerges from an impenetrable veil of fog as it makes its way toward a hostile, gothic-looking island. This opening shot proves to be an apt visual metaphor for what transpires in Shutter Island. From the moment the ferry appears and we hear the first strains of music, viewers are cued to stiffen in their seats. The tactic may seem a little heavy handed, but it’s very effective nonetheless. The audience knows at the get-go this trip to the island home of a Federal asylum/penitentiary for the criminally insane promises to be an unpleasant one. It’s a search for the truth, and that truth may not be what the protagonist hopes to find.

The genius of Martin Scorsese’s' film isn't due to an original story or the much-discussed final twist. Neither the story nor the twist is original; we have seen films of this type before. No, its genius lies in the script's subtext, Scorsese' masterful execution, and the complex performances of Leonardo DiCaprio and Sir Ben Kinsley.

If ever a film required the talents of a deft director, Shutter Island is one. I don't want to give anything away because the eventual revelation along with the heartbreaking conclusion is critical to the viewers’ enjoyment. But I will point out that in a story told by an unreliable narrator, what unfolds must be capable of two interpretations for the twist to work. Careful attention must be paid to the dialog, the nuances of the performances, composition of the shots, editing, and point-of-view. Thankfully, Scorsese is the right man for the job. There are a few moments in the film that don't read as well as they could, but Scorsese’s hits far outweigh those few small misses.

It's 1954, and U.S. Marshall Teddy Daniels (Leonardo DiCaprio) and his new partner Chuck Aule (Mark Ruffalo) visit Ashecliffe Hospital on Shutter Island to investigate the disappearance of violent patient Rachel Solando (Emily Mortimer/Patricia Clarkson), a war widow who drowned her three children yet remains blissfully unaware of that fact. But something is wrong. How is it that in a maximum security institution, no one saw her leave? To complicate matters, a violent storm is approaching the island which threatens to unleash chaos in an already unstable, chaotic environment. How could the barefooted Rachel navigate the inhospitable and harsh terrain of the island and elude capture by the hospital guards? Throughout the investigation, hospital administrator Dr. Cawley (Ben Kingsley) proves uncooperative, and his attitude heightens the suspicions of the already mistrustful Daniels.

The film is rich with vivid images and symbols associated with critical events in the back stories of both Daniels and Solando. As the investigation progresses and Daniels' painful personal memories intrude, their personal histories intertwine in his dreams. Scorsese weaves these images into a nightmarish tapestry for the dream sequences which are rife with poignancy and horrific meaning.

Kudos to DiCaprio who found an inroad for portraying Daniels, a deeply troubled man who has suffered more than his fair share of violence and trauma, from his war time experiences to the death of his much beloved wife Dolores (played to perfection by Michelle Williams whose character appears to Daniels as a kind of spirit guide). As Dr. Cawley, Kingsley projects an air of secretiveness and deceit and later, as time goes on, one of sympathy. And Patricia Clarkson delivers a stunning performance in her brief scenes as the "real" Solando.

Shutter Island explores the tensions and anxieties that characterized 1950s America, an era when postwar malaise, the Cold War, HUAC, paranoia, and conspiracy theories held sway. Daniels is convinced that Ashecliffe is involved in a government-sponsored conspiracy, to what purpose he's not sure. But the problem with conspiracy theories is that as they are laid out, the details become increasingly convoluted and hard to believe. Is Daniels off the mark? The suspense will keep viewers glued to their seats.

The inspired soundtrack comprised of haunting modern classical pieces -- selected by Robbie Robertson -- work in concert with the script and Scorsese's direction to create an absorbing mystery/drama as tense and disturbing as it is oddly tender. Shutter Island stands out as one of 2010's must-see films.*-JR

1/2

Shutter Island 2010 Reviewer: Kyle Retter Director: Martin Scorese Cast: Leonard DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow, Michelle Williams, Emily Mortimer

Valuable things have a way of being misunderstood….
I was scared before I ever stepped foot into the theatre to see Shutter Island, the latest endeavor from one of the most recognizable directors of the last 40 years, Martin Scorsese.

I wasn’t scared that Shutter Island would move my bowls, but rather churn my stomach.
You see, Shutter Islands release date was pushed back several months due to the “economic downturn”, according to Paramount. This led me to believe that the film would prove to be less than good. With an $80 million budget for the film and at least $60 million budgeted for marketing was Paramount just hoping to delay a huge Scorsese flop following his well deserved Academy award winning best picture, 2006’s The Departed?

Shutter Island stars Leonardo Dicaprio as U.S. Marshal Teddy Daniels. Teddy and his partner, Chuck, played by Mark Ruffalo, (one of the more underrated actors of the past 10 years) are sent to a remote island off the coast of Massachusetts that houses some of the most violent and insane inmates, err, patients. Strange things are afoot on Shutter Island and Teddy is dead set on getting to the bottom of it. There are several storylines to follow here, 1) the missing patient who seems to have “evaporated straight through the walls”, 2) the real motivation for his deceitful decent upon the island, Andrew Ladise, an inmate that changed Teddy’s life forever, thus raising the stakes of the film, and 3) inmate 67. Is inmate 67 Ladise? Does inmate 67 exist? Is there a connection between Ladise and Ted Daniels? There is a lot to be explored here.

The first act of the film was a bit much for me to stomach, I will admit. The score is overbearing, the dialog, on the nose, and the mood, well, Scorsese is a master at his craft and I felt like he wasn’t trusting us to understand what he was setting up, which I was taking personally, but you don’t give up on Scorsese. At 2 hours and 18 minutes it was a lot to endure, especially some of the more ridiculous moments that seemed even more dubious given the climax, but I digress.

Consequentialism dear Watson, consequentialism. Here, more than any other film I’ve seen in the recent past, the ends most certainly justify the means. In the true Aristotelian understanding, what I experienced in the theatre, along with the sold out crowd was a catharsis. I could see the ending coming, or at least had my suspicions from early on, but when push came to shove, I didn’t care. The climax was handled delicately. It wasn’t rushed, pulling us in and allowing us to live in the moment rather than feeling removed from it. Bravo.

Today, I feel like I told a really offensive joke to a group of people who, rather than laughing, asked me to leave. I had my doubts, sheepishly I admit, I was wrong about Shutter Island.

My Vote: It’s no gangster flick, but even Henry Hill could see the value in Scorseses’ understanding of plot and tone and how they can make or break the movie-going experience.

1/2