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Notes from Underground

  And, indeed, I will ask on my own account here, an idle question: which is better—cheap happiness or exalted sufferings? Well, which is better?---Fyodor Dostoevsky ---Notes from Underground Fyodor Dostoevsky ---Notes from Underground Even now, so many years later, all this is somehow a very evil memory. I have many evil memories now, but ... hadn’t I better end my “Notes” here? I believe I made a mistake in beginning to write them, anyway I have felt ashamed all the time I’ve been writing this story; so it’s hardly literature so much as a corrective punishment.  Why, to tell long stories, showing how I have spoiled my life through morally rotting in my corner, through lack of fitting environment, through divorce from real life, and rankling spite in my underground world, would certainly not be interesting; a novel needs a hero, and all the traits for an anti-hero are expressly gathered together here, and what matters most, it all produces an unpleasant impression, for we are...
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Hope

To be human is to be a miracle of evolution conscious of its own miraculousness — a consciousness beautiful and bittersweet, for we have paid for it with a parallel awareness not only of our fundamental improbability but of our staggering fragility, of how physiologically precarious our survival is and how psychologically vulnerable our sanity. To make that awareness bearable, we have evolved a singular faculty that might just be the crowning miracle of our consciousness: hope.-- Erich Fromm


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Mystic River (2003)

 


To see strong acting like this is exhilarating. In a time of flashy directors who slice and dice their films in a dizzy editing rhythm, it is important to remember that films can look and listen and attentively sympathize with their characters. Directors grow great by subtracting, not adding, and Eastwood does nothing for show, everything for effect.


Clint Eastwood’s “Mystic River” is a dark, ominous brooding about a crime in the present that is emotionally linked to a crime in the past. It involves three boyhood friends in an Irish neighborhood of Boston, who were forever marked when one of them was captured by a child molester; as adults, their lives have settled into uneasy routines that are interrupted by the latest tragedy. Written by Brian Helgeland, based on the novel by Dennis Lehane, the movie uses a group of gifted actors who are able to find true human emotion in a story that could have been a whodunit, but looks too deeply and evokes too much honest pain.

The film centers on the three friends: Jimmy (Sean Penn), an ex-con who now runs the corner store; Dave (Tim Robbins), a handyman, and Sean (Kevin Bacon), a homicide detective. All are married; Jimmy to a second wife, Annabeth (Laura Linney), who helps him bring up his oldest daughter and two of their own; Dave to Celeste (Marcia Gay Harden), who has given him a son; Sean to an absent, pregnant wife who calls him from time to time but never says anything. The other major character is Whitey (Laurence Fishburne), Sean’s police partner.




Although elements in “Mystic River” play according to the form of a police procedural, the movie is about more than the simple question of guilt. It is about pain spiraling down through the decades, about unspoken secrets and unvoiced suspicions. And it is very much about the private loyalties of husbands and wives. Jimmy says he will kill the person who killed his daughter, and we have no reason to doubt him, especially after he hires neighborhood thugs to conduct their own investigation.

Linney, as his wife, has a scene where she responds to his need for vengeance, and it is not unreasonable to compare her character to Lady Macbeth. Harden, as Celeste, Dave’s wife, slowly begins to doubt her husband’s story about the mugger and shares her doubts. We see one wife fiercely loyal and another who suspects she has been shut out from some deep recess of her husband’s soul.

Although the story eventually arrives at a solution, it is not about the solution. It is about the journey, and it provides each of his actors with scenes that test their limits. Both Penn and Robbins create urgent and breathtaking suspense as they are cross-examined by the police. There is tension between Whitey, who thinks Dave is obviously guilty, and Sean, who is reluctant to suspect a childhood friend. There are such deep pools of hatred and blood lust circling the funeral that we expect an explosion at any moment, and yet the characters are all inward, smoldering.














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