Director: Denis Villeneuve
Release Date: September 20th, 2013 (US); September 27th, 2013 (UK)
Genre: Crime; Drama; Mystery
Starring: Jake Gyllenhaal, Hugh Jackman
There is a great deal of religious allegory laced throughout Prisoners, Denis Villeneuve’s morbid entry in the child abduction genre (when wouldn’t morbidity factor?). The first voice we hear belongs to Keller Dover, played by Hugh Jackman, who relays the Lord’s Prayer “Our Father” with solemn gruff. Shortly thereafter, the dad of two converses with his son about the need to be prepared for impending natural disasters — floods, subsequent humanitarian crises etc. These early religious influxes glare from the screen, but as the film progresses it is driven by a more subtle assertion: loss of children equals loss of faith, and loss humanity.
Prisoners isn’t really about religion at all. It’s about our mundane and/or extreme reactions to potential tragedy. We follow two men, broadly speaking, each fulfilling his perceived duty in the wake of a double disappearance. Keller Dover is one of those men, whose young daughter and friend go missing on Thanksgiving. Perennial show-stealer Jake Gyllenhaal is the other man, the detective on the case. Aaron Guzikowski’s screenplay awards ample development time to the pair of them; just when you think the film is erring too much on one side of the story, it shifts to the other perspective.
Gyllenhaal’s Loki relays that sort of downtrodden look, one that suggests he may be fed up with his role in the dank Pennsylvania logging town. He relentlessly blinks as if forcing himself to stay awake. We learn from the source that Loki has solved every case he’s ever been assigned, and you get the sense that is probably because he routinely swap sleep for work. Keller, likewise, bears a dishevelled appearance most of the time, his gruff beard and hardened exterior perfectly matching the woody setting. Even Keller’s chequered shirt is dark grey and army green.
When the pair first interact following the girls’ disappearance, Jackman is brilliantly emotional; enraged to no end, with bloodshot eyes and a reckless aura that serves as a basis for what is to come. On the other hand Gyllenhaal evokes detachment, as if Loki has already been down this horrid route before. To him, it seems, what happens next is a formality. It is a fascinating — if not entirely surprising — clash that continues to evolve without genericism.
Roger Deakins’ use of a woozy grey colour palette encourages the dour and desolate mood. Cinematographer Deakins is always an ever-present during awards season (he was nominated for his work here, and has been on the final ballot for his numerous efforts alongside the Coen brothers) but, in one of the circuit’s most egregious ongoing shams, the camera master has never won an Oscar. He sets the scene ominously in Prisoners: when it rains, it really does pour.
For around an hour Deakins meticulously cuts away from any violence, allowing our imagination to run wild. The first instance of visceral brutality comes via the fists of dad Keller, flipping the morality of good and bad. Terrence Howard plays the father of the other lost girl, his ethics wavering but without as much force. Keller arrives at barbarity through his own prejudice — he believes he has the culprit, but the law disagrees. To Keller, his psyche crumbling under the weight of anguish and guilt, the law has become sterile and justice is best served cold.
The film challenges us to consider his predicament, and whether or not his actions are justified. That Hollywood babyface Hugh Jackman is the one inverting right and wrong only serves to complicate matters further. Even the local priest is a drunk, and worse. The reaction of Keller’s wife, mother to one of the missing girls, is a little harder to swallow. Played well by Maria Bello, she blames her husband for what has happened. Though this might be a truthful and raw circumstantial response, there is a disconnect between the overstretched attempt at melodramatic realism and the more grounded troubled realism surrounding Keller.
Villeneuve’s film is also about systematic failure. It calls into question how two girls, both of whom should be safe in their own neighbourhood, can go missing without a trace. The fact that Loki always seems to be fatigued suggests that he is overworked. You applaud his tenacity and sympathise with his increasing hopelessness — especially as he juggles the intense job with spit-fire tirades from the victims’ families — but you also lament the inadequate law set up. Keller is unable to actively assist the ongoing investigation due to legalities, the structure keeping him and his wife at arm’s length.
The movie reflects Zodiac’s overbearing misery (and also its literal puzzlement), and Gyllenhaal’s appearance also recounts his Nightcrawler aesthetic — post-gaunt, perhaps. He has to be restrained as the detective, but also as the co-star. Jackman, quite obviously, is the one doing most of the emoting. He gives a stunted powerhouse performance, a broken one, a trembling one. “You look very tired.” And he is. Paul Dano plays one of the primary suspects and although the nature of his character generally renders him silent, his performance manages to be one of internal terror and external creep.
“No-one took them. Nothing happened. They’re just gone,” says one women dejectedly. And that’s the mantra by which the film lives. It keeps us guessing to the point where we might never find out what happened. This slow burning premise echoes of the first season of The Killing; very thorough, manoeuvring this way and that, affording its audience time to think. The pace is slow and film is long at two and a half hours, but the pace would be slow for the families involved. A sudden burst of energy towards the conclusion ushers in an incredibly well-executed car sequence.
Prisoners reconstructs the pillars of humanness and purity. What would we do in similar circumstances? Having initially caught his suspect with fuzzily correct intentions, doubt soon creeps into Keller’s mind. Yet he never releases his captive. As time wears on, it becomes apparent that Keller is only disseminating pain in order to serve his own emptiness — it’s a temporary stop-gap that might, somehow, eventually lead to a permanent solution.
Images credit: IMP Awards, Collider
Images copyright: Warner Bros. Pictures
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