The Film & Art Study will continue at 6:15, this Wednesday, August 20, in the Reel FX screening room.
Dr. Jonathan Steele: "According to your file, you believe that the police substituted a fake boy for your son."
Christine Collins: "No, I didn't say he was a fake boy. He's not *my* boy. They brought home the wrong boy. My son is still missing."
Dr. Jonathan Steele: "Well, that's strange, because I have here a newspaper article with a photo of you at the train station, welcoming home your son."
Changeling is a 2008 American Psychological Crime/Thriller, written by J. Michael Straczynski and directed, co-produced and scored by Clint Eastwood, that explores child endangerment, female disempowerment, political corruption and the repercussions of violence. Based partly on real-life events – the 1928 “Wineville Chicken Coop” kidnapping and murder case in Los Angeles, California - the film stars Angelina Jolie as a woman who is reunited with her missing son only to realize he is an impostor. When she tries to demonstrate this to the police and city authorities, she is vilified as delusional and an unfit mother.
|Angelina Jolie as Christine Collins|
The film's writer J. Michael Straczynski spent a year researching the story after hearing about the "Wineville Chicken Coop case" from a contact at Los Angeles City Hall. Almost all the film's script was drawn from thousands of pages of documentation. His first draft became the shooting script and his first film screenplay to be produced. Ron Howard had meant to direct the film, but scheduling conflicts led to his replacement by Eastwood. Instead, Howard and his Imagine Entertainment partner Brian Grazer produced Changeling alongside Malpaso Productions’ Robert Lorenz and Eastwood. Universal Pictures financed and distributed the film.
Writer, Michael Straczynski, viewed "sitting down and ferreting out [the] story" as a return to his journalistic roots. He also drew on his experience writing crime drama for the procedural elements of the plot. Straczynski said he had gathered so much information about the case that it was difficult to work out how to tell it. To let the story develop at its own pace, he put the project aside to allow himself to forget the less essential elements and bring into focus the parts he wanted to tell. He described what he saw as two overlaid triangles: "the first triangle, with the point up, is Collins' story. You start with her, and her story gets broader and broader and begins having impact from all kinds of places. The overlay on that was an upside down triangle with the base on top, which is the panorama of Los Angeles at that time—1928. And it begins getting narrower and narrower toward the bottom, bearing down on her." Once Straczynski saw this structure, he felt he could write the story. He chose to avoid focusing on the atrocities of the Wineville murders in favor of telling the story from Collins' perspective; Straczynski said she was the only person in the story without a hidden agenda, and it was her tenacity—as well as the legacy the case left throughout California's legal system—that had attracted him to the project. He said, "My intention was very simple: to honor what Christine Collins did."
|Angelina Jolie in Changeling|
With Collins as the inspiration, Straczynski said he was left with a strong desire "to get it right"; he approached it more like "an article for cinema" than a regular film. He stuck close to the historical record because he felt the story was bizarre enough that adding too many fictional elements would call into question its integrity. Straczynski claimed that 95% of the script's content came from the historical record; he said there were only two moments at which he had to "figure out what happened", due to the lack of information in the records. One was the sequence set in the psychopathic ward, for which there was only limited after-the-fact testimony. Straczynski originally wrote a shorter account of Collins' incarceration. His agent suggested the sequence needed development, so Straczynski extrapolated events based on standard practice in such institutions at the time. It was at this stage he created composite character Carol Dexter, who was intended to symbolize the women of the era who had been unjustly committed. Straczynski cited his academic background, including majors in psychology and sociology, as beneficial to writing the scenes, specifically one in which Steele distorts Collins' words to make her appear delusional. Straczynski worked at making the dialogue authentic, while avoiding an archaic tone. He cited his experience imagining alien psyches when writing Babylon 5 as good practice for putting himself in the cultural mindset of the 1920s.
Straczynski described specific visual cues in the screenplay, such as in Sanford Clark's confession scene. Clark's flashback to a falling axe is juxtaposed with the crumbling ash from Detective Ybarra's cigarette. The image served two purposes: it was an aesthetic correlation between the axe and the cigarette, and it suggested that Ybarra was so shocked by Clark's confession that he had not moved or even smoked in the 10 minutes Clark took to tell his story. As with most of the cues, Eastwood shot the scene as written. To ensure the veracity of the story, Straczynski incorporated quotes from the historical record, including court testimony, into the dialogue. He also included photocopies of news clippings every 15–20 pages in the script to remind people the story was a true one. So the credits could present the film as "a true story" rather than as "based on" one, Straczynski went through the script with Universal's legal department, providing attribution for every scene. Straczynski believed the only research error he made was in a scene that referenced Scabble, pre-dating its appearance on the market by two years. He changed the reference to a crossword puzzle. He did not alter the shooting script any further from his first draft; though Straczynski had written two more drafts for Howard, Eastwood insisted the first draft be filmed as he felt it had the clearest voice of the three. Straczynski said, "Clint's funny—if he likes it, he'll do it, that's the end of the discussion. When I met with him to ask, 'Do you want any changes, do you want any things cut, added to, subtracted from, whatever,' he said, 'No. The draft is fine. Let's shoot the draft.'"
Among the changes Straczynski made from the historical record was to omit Northcott's mother—who participated in the murders—from the story. He also depicted Northcott's trial as taking place in Los Angeles, though it was held in Riverside. The title is derived from Western European folklore and refers to a creature—a "changeling"—left by fairies in place of a human child. Due to the word's association with the supernatural, Straczynski intended it only as a temporary title, believing he would be able to change it later on.
|LA Times - Northcott murders|
The filmmakers retained the names of the real-life protagonists, though several supporting characters were composites of people and types of people from the era. Angelina Jolie plays Christine Collins; five actresses campaigned for the role, including Reese Witherspoon and Hilary Swank. Howard and Grazer suggested Jolie; Eastwood agreed, believing that her face fit the period setting. Jolie joined the production in March 2007. She was initially reluctant because, as a mother, she found the subject matter distressing. She said she was persuaded by Eastwood's involvement, and the screenplay's depiction of Collins as someone who recovered from adversity and had the strength to fight the odds. Jolie found playing Collins very emotional. She said the most difficult part was relating to the character, because Collins was relatively passive. Jolie ultimately based her performance on her own mother, who died in 2007. For scenes at the telephone exchange, Jolie learned to roller skate in high heels, a documented practice of the period.
Jeffrey Donovan portrays Captain J.J. Jones, a character Donovan became fascinated with because of the power Jones wielded in the city. The character quotes the real Jones' public statements throughout the film, including the scene in which he has Collins committed. Donovan's decision to play Jones with a slight Irish accent was his own. John Malkovich joined the production in October 2007 as Reverend Gustav Briegleb. Eastwood cast Malkovich against type as he felt this would bring "a different shading" to the character. Jason Butler Harner plays Gordon Northcott, whom Harner described as "a horrible, horrible, wonderful person". He said Northcott believes he shares a connection with Collins due to their both being in the headlines: "In his eyes, they're kindred spirits." Harner landed the role after one taped audition. Casting director Ellen Chenoweth explained that Eastwood chose Harner over more well-known actors who wanted the part because Harner displayed "more depth and variety" and was able to project "a slight craziness" without evoking Charles Manson. Eastwood was surprised by the resemblance between Northcott and Harner, saying they looked "very much" alike when Harner was in makeup.
|Goron Nothcott with officers, CF Rayburn and Jack Brown traveling to San Quentin.|
As Harner did for the Northcott role, Amy Ryan auditioned via tape for the role of Carol Dexter. She cited the filming of a fight scene during which Eastwood showed her "how to throw a movie punch" as her favorite moment of the production. Michael Kelly portrays Detective Lester Ybarra, who is a composite of several people from the historical record. Kelly was chosen based on a taped audition; he worked around scheduling conflicts with the television series Generation Kill, which he was filming in Africa at the same time. Geoff Pierfson plays Sammy Hahn, a defense attorney known for taking high-profile cases. He represents Collins and in doing so plants the seeds for overturning "Code 12" internments, used by police to jail or commit those deemed difficult or an inconvenience. Code 12 was often used to commit women withoutdue process. Colm Feore portrays Chief of Police James E. Davis, whose backstory was changed from that of his historical counterpart. Reed Birney plays Mayor George E. Cryer; Denis O'Hare plays composite character Doctor Jonathan Steele; Gattlin Griffith plays Walter Collins, and Devon Conti plays his supplanter, Arthur Hutchins. Eddie Alderson plays Northcott's nephew and accomplice, Sanford Clark.
James J. Murakami supervised the production design. Location scouting revealed that many of the older buildings in Los Angeles had been torn down, including the entire neighborhood where Collins lived. Suburban areas in San Dimas, San Bernadino and Pasadena doubled for 1920s Los Angeles instead. The Old Town district of San Dimas stood in for Collins' neighborhood and some adjacent locales. Murakami said Old Town was chosen because very little had changed since the 1920s. It was used for interiors and exteriors; the crew decorated the area with a subdued color palette to evoke feelings of comfort. For some exterior shots they renovated derelict properties in neighborhoods of Los Angeles that still possessed 1920s architecture. The crew staged the third floor of the Park Plaza Hotel in Los Angeles into a replica of the 1920s Los Angels City Council chambers.
The 1918 Santa Fe Depot in San Bernardino doubled for the site of Collins' reunion with "Walter". The production filmed scenes set at San Quentin in the community. A small farm on the outskirts of Lancaster, California, stood in for the Wineville chicken ranch. The crew recreated the entire ranch, referencing archive newspaper photographs and visits to the original ranch to get a feel for the topography and layout. Steve Lech, president of the Riverside Historical Society, was employed as a consultant and accompanied the crew on its visits.
The production sourced around 150 vintage motor cars, dating from 1918 to 1928, from collectors throughout Southern California. In some cases the cars were in too good a condition, so the crew modified them to make the cars appear like they were in everyday use; they sprayed dust and water onto the bodywork, and to "age" some of the cars they applied a coating that simulated rust and scratches. The visual effects team retouched shots of Los Angeles City Hall—on which construction was completed in 1928—to remove weathering and newer surrounding architecture. Costume designer Deborah Hopper researched old Sears department store catalogs, back issues of Life Magazine and high-school yearbooks to ensure the costumes were historically accurate. Hopper sourced 1920s clothing for up to 1,000 people; this was difficult because the fabrics of the period were not resilient. She found sharp wool suits for the police officers. The style for women of all classes was to dress to create a boyish silhouette, using dropped waist dresses, cloche hats that complemented bob cut hairstyles, fur-trimmed coats and knitted gloves. Jolie said the costumes her Collins character wore formed an integral part of her approach to the character. Hopper consulted historians and researched archive footage of Collins to replicate her look. Hopper dressed Jolie in austere grays and browns with knitted gloves, wool serge skirts accompanying cotton blouses, Mary Jane shoes, crocheted corsages and Art Deco jewelry. In the 1930s sequences at the end of the film, Jolie's costumes become more shapely and feminine, with a decorative stitching around the waistline that was popular to the era.
Principal photography began on October 15, 2007, finishing two days ahead of its 45-day schedule on December 14, 2007. Universal Pictures provided a budget of $55 million. The film was Eastwood's first for a studio other than Warner Bros since Absolute Power (1997). Filming mainly took place on the Universal Studios backlot in Los Angeles. The backlot's New York Street and Tenement Street depicted downtown Los Angeles. Tenement Street also stood in for the exterior of Northcott's sister's Vancouver apartment; visual effects added the city to the background. The production also used the Warner Bros. backlot in Burbank, California. Eastwood had clear childhood memories of 1930s Los Angeles and attempted to recreate several details in the film: the town hall, at the time one of the tallest buildings in the city; the city center, which was one of the busiest in the world; and the "perfectly functioning" Pacific Electric Railway, the distinctive red streetcars of which feature closely in two scenes. The production used two functioning replica streetcars for these shots, with visual effects employed for streetcars in the background.
Eastwood is known for his economical film shoots; his regular camera operator, Steve Campanelli, indicated the rapid pace at which Eastwood films—and his intimate, near-wordless direction—also featured during Changeling's shoot. Eastwood's limited rehearsals and takes to garner more authentic performances. Jolie said, "You've got to get your stuff together and get ready because he doesn't linger ... He expects people to come prepared and get on with their work." Campanelli sometimes had to tell Jolie what Eastwood wanted from a scene, as Eastwood talked too softly. To provide verisimilitude to certain scenes, Eastwood sometimes asked Jolie to play them quietly, as if just for him. At the same time he would ask his camera operator to start filming discreetly, without Jolie's seeing it. Malkovich noted Eastwood's direction as "redefining economical", saying Eastwood was quiet and did not use the phrases "action" and "cut". He said, "Some [directors]—like Clint Eastwood or Woody Allen—don't really like to be tortured by a million questions. They hire you, and they figure you know what to do, and you should do it ... And that's fine by me." Ryan also noted the calmness of the set, observing that her experiences working with director Sidney Lumet on 100 Centre Street and Before the Devil Knows You're Dead were useful due to his sharing Eastwood's preference for filming a small number of takes. Donovan said Eastwood seldom gave him direction other than to "go ahead", and that Eastwood did not even comment on his decision to play Jones with a slight Irish accent: "Actors are insecure and they want praise, but he's not there to praise you or make you feel better ... All he's there to do is tell the story, and he hired actors to tell their story." Gaffer, Ross Dunkerley said he often had to work on a scene without having seen a rehearsal: "Chances are we'll talk about it for a minute or two, and then we're executing it."
|John Malkovich, Changeling|
The original edit was almost three hours long; to hone it to 141 minutes, Eastwood cut material from the first part of the film to get to Collins' story sooner. To improve the pacing he also cut scenes that focused on Reverend Briegleb. Eastwood deliberately left the ending of the film ambiguous to reflect the uncertain fates of several characters in the history. He said that while some stories aimed to finish at the end of a film, he preferred to leave it open-ended.
Changeling was director of photography Tom Stern's sixth film with Eastwood. Despite the muted palette, the film is more colorful than some previous Stern–Eastwood collaborations. Stern referenced a large book of period images. He attempted to evoke Conrad Hall's work on Depression-set film The Day of the Locust, as well as match what he called the "leanness" of Mystic RIver's look. Stern said the challenge was to make Changeling as simple as possible to shoot. To focus more on Jolie's performance, he tended to avoid the use of fill lighting. Eastwood did not want the flashbacks to Northcott's ranch to be too much like a horror film—he said the focus of the scene was the effect of the crimes on Sanford Clark—so he avoided graphic imagery in favor of casting the murders in shadow.
Stern shot Changeling in anamorphic format on 35mm film using Kodak Vision 500T 5279 film stock. The film was shot on Panavision cameras and C-Series lenses. Due to the large number of sets, the lighting rigs were more extensive than on other Eastwood productions. The crew made several ceilings from bleached muslin tiles. Stern lit the tiles from above to produce a soft, warm light that was intended to evoke the period through tones close to antique and sepia. The crew segregated the tiles using fire safety fabric Duvatyn to prevent light spilling onto neighboring clusters. The key light was generally softer to match the warm tones given off by the toplights. Stern used stronger skypans - more intense than is commonly used for key lighting—to reduce contrasts when applying daytime rain effects, as a single light source tended to produce harder shadows.
Stern lit scenes filmed at the Park Plaza Hotel using dimmable HMI and tungsten lights rigged within balloon lights. This setup allowed him to "dial in" the color he wanted, as the blend of tones from the tungsten fixtures, wooden walls and natural daylight made it difficult to illuminate the scenes using HMIs or daylight exclusively. Stern said the period setting had little effect overall on his lighting choices because the look was mostly applied in the production design and during digital intermediate (DI), the post-production digital manipulation of color and lighting.Technicolor Digital Intermediates carried out the DI. Stern supervised most of the work via e-mailed reference images as he was in Russia shooting another film at the time. He was present at the laboratory for the application of the finishing touches.
CIS Vancouver and Pac Title created most of the visual effects, under the overall supervision of Michael Owens. CIS' work was headed by Geoff Hancock and Pac Title's by Mark Freund. Each studio created around 90 shots. Pac Title focused primarily on 2D imagery; VINCON House of Moves handled the motion capture. The effects work consisted mainly of peripheral additions: architecture, vehicles, crowds and furniture. CIS used 3D modeling package Maya to animate city scenes before rendering them in mental ray; they generated matte paintings in Softimage XSI and Maya, and used Digital Fusion for some 2D shots. The team's work began with research into 1928 Los Angeles; they referenced historical photographs and data on the urban core's population density. CIS had to generate mostly new computer models, textures and motion capture because the company's existing effects catalog consisted primarily of modern era elements. CIS supplemented exteriors with skylines and detailed backdrops. They created set extensions digitally and with matte paintings. CIS created city blocks by using shared elements of period architecture that could be combined, rearranged and restacked to make buildings of different widths and heights; that way, the city could look diverse with a minimum of textural variation. CIS referenced vintage aerial photographs of downtown Los Angeles so shots would better reflect the geography of the city, as Hancock felt it important to have a consistency that would allow audiences to understand and become immersed in the environment.
To maintain the rapid shooting pace Eastwood demanded, Owens chose to mostly avoid using bluescreen technology, as the process can be time-consuming and difficult to light. He instead used rotoscoping, the process whereby effects are drawn directly onto live action shots. Rotoscoping is more expensive than bluescreen, but the technique had proved reliable for Eastwood when he made extensive use of it on Flags of Our Fathers (2006) to avoid shooting against bluescreen on a mountaintop. For Owens, the lighting was better, and he considered rotoscoping to be "faster, easier and more natural". Owens used bluescreen in only a few locations, such as at the ends of backlot streets where it would not impact the lighting.The Universal Studios backlot had been used for so many films that Owens thought it important to disguise familiar architecture as much as possible, so some foreground and middle distance buildings were swapped. One of his favorite effects shots was a scene in which Collins exits a taxi in front of the police station. The scene was filmed almost entirely against bluescreen; only Jolie, the sidewalk, the taxi cab and an extra were real. The completed shot features the full range of effects techniques used in the film: digital extras in the foreground, set extensions, and computer-generated vehicles.
For crowd scenes, CIS supplemented the live-action extras with digital pedestrians created using motion capture. House of Moves captured the movements of five men and four women during a two-day shoot supervised by Hancock. The motion capture performers were coached to make the "small, formal and refined" movements that Owens said reflected the general public's conduct at the time. CIS combined the motion data with the Massive software package to generate the interactions of the digital pedestrians. The use of Massive presented a challenge when it came to blending digital pedestrians with live-action extras who had to move from the foreground into the digital crowd. Massive worked well until this stage, when the effects team had to move the digital pedestrians to avoid taking the live-action extras out of the shot. To allow close-ups of individual Massive extras, the effects team focused on their faces and walking characteristics. Hancock explained, "We wanted to be able to push Massive right up to the camera and see how well it held up. In a couple of shots the characters might be 40 feet away from the camera, about 1/5 screen height. The bigger the screen is, the bigger the character. He could be 10 feet tall, so everything, even his hair, better look good!" Typically, a limited number of motion performances are captured and Massive is used to create further variety, such as in height and walking speed. Because the digital extras were required to be close to the foreground, and to integrate them properly with the live action extras, House of Moves captured twice as much motion data than CIS had used on any other project. CIS created nine distinct digital characters. To eliminate inaccuracies that develop when creating a digital extra of different proportions to the motion capture performer, CIS sent nine skeleton rigs to House of Moves before work began. This gave House of Moves time to properly adapt the rigs to its performers, resulting in motion capture data that required very little editing in Massive. CIS wrote shaders for their clothing; displacement maps in the air shader were linked with the motion capture to animate wrinkles in trousers and jackets.
|Eastwood and Jolie, Changeling|
Forgoing the closure favored by its contemporaries, Changeling's final sequence reflects Collins' renewed hope that Walter is alive. The shot is a two and a half minute sequence showing Collins' walking off to become lost in a crowd. The sequence is representative of the range of effects that feature throughout the film; Los Angeles is presented as major character, brought to life by unobtrusive peripheral imagery that allows the viewer to focus on the story and the emotional cues. The "hustle and bustle" of the sequence was required to convey that downtown Los Angeles in 1935 was a congested urban center. In the closing shot, the camera tilts up to reveal miles of city blocks, pedestrians on the streets, cars going by and streetcars running along their tracks. The version of the film that screened at Cannes did not include this sequence; the scene faded to black as Collins walked away. The new 4,000-frame shot was Owens' idea. He felt the abrupt cut to black pulled the viewer out of the film too quickly, and that it left no room for emotional reflection. Owens said, "There is a legend at the end before the credits. The legend speaks to what happened after the fact, and I think you need to just swallow that for a few moments with the visual still with you." Owens told Eastwood the film should end like Chinatown (1974), in which the camera lifts to take in the scene: "The camera booms up and she walks away from us from a very emotional, poignant scene at the end, walks away into this mass of people and traffic. It's very hopeful and sad at the same time."
Owens did not have time to complete the shot before the Cannes screenings, but afterwards he used cinesync to conduct most of the work from home. The shot includes two blocks of computer-generated buildings that recede into the distance of a downtown set extension. As Collins disappears into the crowd about a minute into the shot, the live footage is gradually joined with more digital work. The streetcars, tracks and power lines were all computer generated. Live-action extras appear for the first minute of the shot before being replaced by digital ones. The shot was made more complicated by the need to add Massive extras. Owens constructed the scene by first building the digital foreground around the live action footage. He then added the background before filling the scene with vehicles and people.
Eastwood composed Changeling's jazz-influenced score. Featuring lilting guitars and strings, it remains largely low-key throughout. The introduction of brass instruments evokes film noir, playing to the film's setting in a city controlled by corrupt police. The theme shifts from piano to a full orchestra, and as the story develops, the strings become more imposing, with an increasing number of sustains and rises. Eastwood introduces voices reminiscent of those in a horror film score during the child murder flashbacks. The score was orchestrated and conducted by Lennie Niehaus. It was released on CD in North America on November 4, 2008, through record label Varese Saraband.
Changeling Soundtrack at Amazon.com
Disempowerment of women
Changeling begins with an abduction, but largely avoids framing the story as a family drama to concentrate on a portrait of a woman whose desire for independence is seen as a threat to male-dominated society. The film depicts 1920s Los Angeles as a city in which the judgment of men takes precedence; women are labeled "hysterical and unreliable" if they dare to question it. Film critic Prairie Miller said that in its portrayal of female courage the film was "about as feminist as Hollywood can get", and that because of this it had been the subject of sexist disdain. She compared this with the sexism shown to the women in Changeling and those who vied for high political office in 2008. Miller surmised that attitudes to independent, career-minded women had not changed significantly in the intervening years: Collins defies male-generated cultural expectations that women are not suited for professional careers and is punished for it. Rather than "an expression of feminist awareness", David Denby argues, the film—like Eastwood's Million Dollar Baby is "a case of awed respect for a woman who was strong and enduring" The portrait of a vulnerable woman whose mental state is manipulated by the authorities was likened to the treatment of Ingrid Bergman's character in Gaslight (1944), who also wondered if she might be insane; Eastwood cited photographs that show Collins smiling with the child she knows is not hers. Like many other women of the period who were deemed disruptive, Collins is forced into the secret custody of a mental institution. The film shows that psychiatry became a tool in the gender politics of the era, only a few years after woman's suffrage in the United States was guaranteed by the ratification of the Nineteenth Amendment. As women ceased to be second-class citizens and began to assert their independence, the male establishment used mental institutions in an effort to disempower them; in common with other unmanageable women, Collins is subjected to medical treatment designed to break her spirit and compel obedience. The film quotes the testimony of the psychiatrist who treated Collins. Eastwood said the testimony evidenced how women were prejudged, and that the behavior of the police reflected how women were seen at the time. He quoted the words of the officer who sent Collins to the mental facility: "'Something is wrong with you. You're an independent woman.'" Clint Eastwood said, "The period could not accept [it]".
Corruption in political hierarchies
Romantic notions of the 1920s as a more innocent period are put aside in favor of depicting Los Angeles as ruled by a despotic political infrastructure, steeped in sadistic, systematic corruption throughout the city government, police force and medical establishment. In addition to being a Kafkaesque drama about the search for a missing child, the film also focuses on issues relevant to the modern era. Eastwood noted a correlation between the corruption of 1920s Los Angeles and that of the modern era, manifesting in the egos of a police force that thinks it cannot be wrong and the way in which powerful organizations justify the use of corruption. "[The] Los Angeles police department every so often seems to go into a period of corruption," he said, "It's happened even in recent years ... so it was nice to comment [on that] by going back to real events in 1928." Eastwood said that Los Angeles had always been seen as "glamorous", but he believed there had never been a "golden age" in the city. In Changeling, this dissonance manifests in the actions of Arthur Hutchins, who travels to the city in the hope of meeting his favorite actor. Eastwood said that given the corruption that the story covers, Hutchins' naïvete seemed "bizarre". As a lesson in democratic activism, the film shows what it takes to provoke people to speak against unchecked authority, no matter the consequences. Richard Brody of The New Yorker said this rang as true for 1928 Los Angeles as it did for Poland in 1980 or Pakistan in 2008. The film directly quotes Chief of police James E. Davis: "We will hold trial on gunmen in the streets of Los Angeles. I want them brought in dead, not alive, and I will reprimand any officer who shows the least bit of mercy to a criminal." It compares police excess to the vigilantism of the Ku Klux Klan of the 1920s, as the department's "Gun Squad" carries out illegal executions of criminals—"not to stamp out crime ... but 'competition'". The pressure from the police hierarchy was a motivator for officers to quickly solve Walter Collins' disappearance, and a potential reason why they ignored the fact they had returned the wrong child.
|Los Angeles City Hall (1929)|
Children and Violence
Changeling sits with other late-period Eastwood films in which parenting—and, the search for family—is a theme. It makes literal the parental struggle to communicate with children. It can also be seen as a variation of the Eastwood "revenge movie" ethic; in this case, the "avenging grunt" transforms into a courteous woman who only once makes a foul-mouthed outburst. Eastwood dealt with themes of child endangerment in A Perfect World (1993) and Mystic River (2003). Changeling is a thematic companion piece to Mystic River, which also depicted a community contaminated by an isolated, violent act against a child—a comparison with which Eastwood agreed. He said that showing a child in danger was "about the highest form of drama you can have", as crimes against them were to him the most horrible. Eastwood explained that crimes against children represented a theft of lives and innocence. He said, "When [a crime] comes along quite as big as this one, you question humanity. It never ceases to surprise me how cruel humanity can be." Samuel Blumenfeld of Le Monde said the scene featuring Northcott's execution by hanging was "unbearable" due to its attention to detail; he believed it one of the most convincing pleas against the death penalty imaginable. Eastwood noted that for a supporter of capital punishment, Northcott was an ideal candidate, and that in a perfect world the death penalty might be an appropriate punishment for such a crime. He said that crimes against children would be at the top of his list for justifications of capital punishment, but that whether one were pro- or anti-capital punishment, the barbarism of public executions must be recognized. Eastwood argued that in putting the guilty party before his victims' families, justice may be done, but after such a spectacle the family would find it hard to find peace. The scene's realism was deliberate: the audience hears Northcott's neck breaking, his body swings, and his feet shake. It was Eastwood's intention to make it unbearable to watch.
The film's screening at Cannes met with critical acclaim, prompting speculation it could be awarded the Palme d'Or. The award eventually went to Entre les murs (The Class). Straczynski claimed that Changeling's loss by two votes was due to the judges' not believing the story was based on fact. He said they did not believe the police would treat someone as they had Collins. The loss led to Universal's request that Straczynski annotate the script with sources. Although the positive critical notices from Cannes generated speculation that the film would be a serious contender at the 2009 Academy Awards, the North American theatrical release met with a more mixed response. Critics generally judged Changeling well-acted and beautifully shot, but considered the compelling story to have been told too conventionally.
Changeling premiered to critical acclaim at the 61st Cannes Film Festival on May 20, 2008. Further festival appearances preceded a limited release in the United States on October 24, 2008, followed by a general release in North America on October 31, 2008; in the United Kingdom on November 26, 2008; and in Australia on February 5, 2009. Changeling earned $113 million in box-office revenue worldwide – of which $35.7 million came from the United States and Canada – and received nominations in three Academy Award and eight BAFTA Award categories.
|Clint Eastwood, Director/Composer Changeling|
Perhaps the icon of macho movie stars, Clint Eastwood has become a standard in international cinema. Born in 1930 in San Francisco, the son of a steelworker, Eastwood briefly attended Los Angeles City College but dropped out to pursue acting. He found bit work in such B-films as Revenge of the Creature (1955) and Tarantula (1955) until he got his first breakthrough in the long-running TV series Rawhide (1959). As Rowdy Yates, he made the show his own and became a household name around the country.
Clint Eastwood's latest film is the musical, Jersey Boys, released in June 2014.
Changeling is Clint Eastwood’s 31st film as director and his fifth as composer.
The Reel FX Film & Art Study is a weekly presentation and analysis of important films and their impact on the art form. Questions and suggestion are always welcome.
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