The Clearing
review by Jeffrey Overstreet | posted 7/02/2004
 1 of 3
The Clearing starts out like a thriller, but it is far from thrilling. Pieter Jan Brugge's directorial debut is watchable only for its talented cast, a trio of formidable actors who make you wonder what drew them to this particular script. It's a kidnapping yarn that raises a lot of interesting questions and suggests myriad possibilities for conspiracy and surprise, only to cast off those concerns entirely. It ends by slumping into the territory of simple morality plays—you know the kind, where the captive rich man suddenly learns that a few of his priorities are out of whack.
Robert Redford is kidnap victim Wayne Hayes
Brugge, who served as producer for Michael Mann's edgy thrillers The Insider and Heat, deals with some heavy ethical concerns here, and he's got a lineup of seasoned actors who make the most of uncomfortable silences and emotional outbursts. But the script by newcomer Justin Haythe feels like a rough draft. The characters lack distinctive voices, fitting the typical clichés of the rich businessman (Robert Redford, Spy Game), the businessman's imperious wife (Helen Mirren of Gosford Park), and the grudge-bearing ex-employee (Willem Dafoe, Spider-Man).
It is difficult to discuss the plot without "spoiling" what few pedestrian "surprises" it bears—but here is a restrained summary: Wealthy car-rental-business pioneer Wayne Hayes is kidnapped from the driveway of his suburban Pittsburgh home by an amateur criminal named Arnold, leaving his resourceful homemaker wife Eileen to fret over the crisis. The grown children (Alessandro Nivolo and Melissa Sagemiller) come home to furrow their brows over the scarcity of clues, and an FBI agent (Mike Pniewski) moves in to enjoy Eileen's hospitality and muse over the identity of the kidnapper. Meanwhile, Wayne is forced to trudge hand-cuffed through rugged, rainy, forested terrain with his captor's gun aimed at his spine. Arnold tells him there's a cabin ahead, and that he'll be handed over to a band of crooks who have hired him for the delivery.
Willem Dafoe plays the bad guy, Arnold Mack
The revelation that the dour, disgruntled Arnold once worked for Wayne comes early, so that's hardly a spoiler. The biggest surprise is just how many interesting directions the storyteller refuses to go with his plot, preferring a simple and, frankly, dull series of conversations that lead to a rather bewildering outcome. Haythe's idea of an exciting outburst runs like this: "I listened to you, g------ it! Now you listen to me!"
By its conclusion, it has morphed from uninspired thriller into ponderous drama, but the dialogue-heavy scenes both in the woods and on the home front are plodding and even wearying. It would be a complete waste of time if the actors did not bring some intriguing subtleties to their roles. But as it is, even Mirren's magisterial gravitas, Redford's slow-burn intensity, and the unnverving complexities of Dafoe cannot get a fire going in this cliché-soggy kindling.
This kind of sub-level drama is the sort of thing that works in the hands of a subversive master like Roman Polanski. He did just that with a simple kidnapping yarn called Frantic, the 1988 Harrison Ford mystery in which a husband goes hunting for his kidnapped wife. After stumbling into a dark and wicked Paris underworld, Ford's character emerged a changed man, and thus what might have been a happy ending was instead marked by a discomforting chill.
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