As a long-time admirer of Clint Eastwood‘s work, both in front of and behind the camera, I found “Juror No. 2” to be a poignant and thought-provoking addition to his impressive filmography. This is a director who has always had a knack for capturing the nuances of human faces, and this film is no exception.
Clint Eastwood has always been known for having one of the most iconic faces in cinema, which explains why he eventually became one of our esteemed directors of facial expressions. It’s almost comical to refer to Eastwood’s “late career style” because he’s been consistently producing this style for over three decades. The movie Unforgiven, released in 1992, was a reflective piece from an aging star reminiscing about his extensive and diverse career. However, more recently, as his films have grown even more minimalistic and settled into a quiet, introspective simplicity, he appears to take pleasure in allowing us to merely observe the characters portrayed on screen.
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The central figure among this group is Justin Kemp, portrayed by Nicholas Hoult, a journalist in recovery from alcoholism. He’s been selected for a Georgia jury tasked with deciding the fate of James Michael Sythe (Gabriel Basso), a violent man on trial for murder. The tenacious assistant district attorney (Toni Collette) is determined to convict Sythe for killing his girlfriend, Kendall Carter (Francesca Eastwood). As the trial unfolds, Justin discovers that he was at the same bar as Sythe on the night of the crime, struggling with his sobriety and a near-relapse. On his way home, he struck something with his car, initially assuming it was a deer, but now suspecting it could have been Kendall. This intriguing premise presents an opportunity: Can our protagonist, who may be the actual culprit, secure the acquittal of an innocent person (and possibly save himself) by persuading his fellow jurors to find Sythe not guilty?
Warner Bros., facing criticism for its handling of Juror No. 2, has been criticized for its lackluster approach. The movie has received limited marketing and a restricted release to only a few screens with no signs of further expansion; strangely, they also plan not to disclose the film’s box office earnings, which could be an early acknowledgment of failure or a defiant gesture towards the media. This is peculiar considering Eastwood, who has been a valued figure at Warner Bros. for years, was once thought to have a special relationship with the studio, even being allowed final cut on some projects. However, this behavior seems almost logical when you consider that Eastwood, despite his genre reputation and iconic status, is one of the few remaining filmmakers producing adult dramas financed by studios. To contemporary studio executives, Eastwood might appear as an anomaly in their system – not an artist to be nurtured, but a flaw to be corrected.
In simpler terms, legal thrillers like “Juror No. 2” are set in a genre that was once popular and provided comforting suspense stories about people manipulating the system. This could involve corrupt politicians, dangerous criminals, or unscrupulous lawyers. However, these films typically ended with the system winning, even if it took several attempts and caused harm. They symbolized trust in American institutions, implying that the truth would eventually surface and justice would be served.
Instead of a thriller packed with tight deadlines, shadowy probes, near-misses, and courtroom chaos, this film delves into prolonged close-ups of introspective struggles and doubts. Amidst Justin’s growing sense of guilt, his life remains relatively tranquil, though it seems weary from anticipation. His wife, Zoey Deutch, is on the brink of a high-risk pregnancy and yearns for Justin by her side. The other jurors are eager to return home to their families, finding Sythe’s guilt evident. In contrast, the rival lawyers fiercely clash in court but share camaraderie outside work, enjoying drinks together after hours. Sythe’s attorney (Chris Messina) believes fervently in his client’s innocence, yet gives no impression that he would be deeply troubled if the man is convicted. The title character, Juror No. 2, implies that institutions still serve a purpose, but this legal drama may be its most critical indictment – it suggests that miscarriages of justice occur not due to villainous manipulation but from regular people making everyday mistakes because life’s complexities intervene. It is intriguing that the man who once portrayed Dirty Harry now presents a film exploring the dangers of hasty judgment.
Eastwood’s straightforward style sometimes results in minor flaws. Characters frequently claim they can discern Sythe’s innocence based solely on his eyes and words, which calls for a more profound performance than what Basso offers. It seems “one-take Clint” might have benefited from revisiting these scenes. However, Eastwood skillfully elicits impressive performances from his cast by providing them with ample room and time. Eastwood’s patient gaze effectively highlights the human qualities of the characters. Though his approach may be simple, Eastwood’s compassion as a filmmaker, evident in his handling of complex and open-ended themes, has never been more apparent. Juror No. 2 is a worthy addition to an esteemed director’s body of work, unfortunately, many viewers remain unaware of its existence.
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2024-11-01 19:54