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The Enemy Within
A review of Shutter Island

(Paramount/Phoenix Pictures)



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Future biographers of Martin Scorsese will find themselves reckoning with two distinct periods in his filmmaking: the De Niro epoch and the DiCaprio era. In the first 25 years of Scorsese’s career, it seemed like every major film he made was required to star Robert De Niro, from Mean Streets and Taxi Driver, to Raging Bull and Goodfellas, to The King of Comedy and Casino. But now it’s been over a decade since they last worked together. Ever since 2002’s Gangs of New York, the role of Scorsese’s muse has fallen exclusively to Leo.

As far as Oscars and box-office dollars are concerned, it’s been a fruitful collaboration for Scorsese. But artistically I find it baffling. Leonardo DiCaprio is a solid enough actor who’s never quite transcended his child-thespian roots. He looks persistently younger than his age (he’s 36, remarkably), and he’s best in roles that demand a mix of charisma, immaturity, and faint untrustworthiness. That worked well enough when he played Howard Hughes in The Aviator, but otherwise Scorsese has cast him in parts that demand an old-school kind of machismo on the surface and roiling waters underneath: an Irish gang leader from pre–Civil War Manhattan, an undercover Boston cop, and, in their latest collaboration, Shutter Island, a tough-talking federal marshal in the 1950s. In each case, DiCaprio has labored unsuccessfully to deliver something authentic; he’s struck poses, but hasn’t seemed real.

As Shutter Island’s Teddy Daniels, the U.S. marshal dispatched (along with his partner, played by Mark Ruffalo) to investigate a disappearance at a storm-swept asylum for the criminally insane, Leo swallows his golden smile, growls his dialogue, clenches his features, and leaves his still-boyish cheeks unshaven. His character, like the movie as a whole, is self-consciously over-the-top. He’s a temperamental lawman plagued by dreams of his dead wife and nightmares about the death camps he liberated in World War II — as mentally unstable, perhaps, as anyone on the island full of lunatics where he’s conducting his investigation. But for all his grimacing and posturing, DiCaprio still can’t help projecting the air of a slightly gone-to-seed teen idol, with the quiver of a double chin beneath his stubble.

It’s too bad, because the movie itself is an interesting experiment. For most of its running time, you’ll wonder why Scorsese has yoked his genius to so many hoary B-movie clichés. Never has so much artistry been lavished on looming cliffs, overgrown cemeteries, dripping cellblocks, and things that go “bump!” in the middle of a night-time investigation. Every lunatic on Shutter Island is an archetype of madness; every sinister guard echoes some earlier cinematic heavy; every red herring and sudden reversal evokes the gothic murder mysteries of yore. The score pounds; the storm pounds harder. All that’s missing is Vincent Price, materializing from the shadows with a smile of welcome.


Contents
March 22, 2010    |     Volume LXII, No. 5

Articles
  • The political difference between Reagan and Obama is that the former gave the public what it wanted.
  • For employers who want to test job applicants, it’s damned if you do and damned if you don’t.
  • In Montana, medical-marijuana regulation threatens to shut down the most legitimate tier of operators.
  • A Cuban prisoner of conscience and an extreme method.
Features
Books, Arts & Manners
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The Long View  .  .  .  .  .  .  .  .  
Poetry  .  .  .  .  .  .  .  .  
Happy Warrior  .  .  .  .  .  .  .  .