A grief-stricken mother takes on the LAPD to her own detriment when it stubbornly tries to pass off an obvious impostor as her missing child, while also refusing to give up hope that she will find him one day.
Nelson Mandela, in his first term as the South African President, initiates a unique venture to unite the apartheid-torn land: enlist the national rugby team on a mission to win the 1995 Rugby World Cup.
Los Angeles, 1928. A single mother returns from work to find her nine-year-old son gone. She calls the LAPD to initiate a search. Five months later, a boy is found in Illinois who fits the description; he says he's her son. To fanfare and photos, the LAPD reunite mother and son, but she insists he's not her boy. The cops dismiss her as either a liar or hysterical. When she joins a minister in his public criticism of the police, they in turn use government power to silence and intimidate her. Meanwhile, a cop goes to a dilapidated ranch to find a Canadian lad who's without legal status; the youth tells a grisly tale. There's redress for murder; is there redress for abuse of power? Written by
The fate of Sanford Clark, the 13-year-old boy who was forced by his uncle, Gordon Northcutt, to participate in some of the Wineville Murders, is not mentioned in the film. After leading the police to the bodies at his uncle's farm, Clark was sentenced to five years at Whittier Boys School in California. A sympathetic L.A. District Attorney, Loyal Kelly, later had Clark's sentence reduced to 23 months after the school reported that Clark showed promising job skills and a genuine desire to reform. Clark returned to Canada, where he served in the Canadian military during World War II, and later worked as a mailman for 28 years. He married, adopted and raised two children, and served local community causes throughout his life. Sanford Clark died in 1991. See more »
Detective Ybarra uses the term "serial killer." The phrase was coined by FBI Special Agent Robert Ressler in the 1970s, and entered popular use a few years later. See more »
Changeling - In 1928, Single mother Christine Collins (Angelina Jolie) returns home one day to discover her nine-year-old son, Walter, is missing. She calls the police and, after enduring a grueling 24 hours, they search for her son. But the boy they return to her is not her son. After confronting corrupt city authorities, Collins is vilified as an unfit mother and sent to an asylum.
This is a grueling film to watch. I have not felt this hideous since North Country, a film which also dealt with misogyny within the power structure. Women are treated as fragile, emotional, and not believable. This film tackles corruption to boot, as the LAPD is accused of being a gang of thugs that answer to no one. Eastwood is old school with the violence, understanding that the mind can fill in the very brutal gaps.
Angelina Jolie delivers another great performance. But unlike A Mighty Heart, this film actually deserves her presence. I don't think she really should have so much press coverage, but there is definitely reason for her acclaim as an actress. The situation her character goes through is so surreal and the film captures it perfectly. It gives you chills from the second Christine is given this pretender to raise and rarely lets up. And if for one moment you tell yourself "It's just a movie" as I tried to, this s*** actually happened. Characters were composited or changed, a disclaimer at the end states, but the events were the same.
An odd praise goes out to Jason Butler Harner, who plays Gordon Northcott, a kidnapper and murderer of many children. He has played one of the monsters of everyone's nightmares to perfection. Also of note is Jeffrey Donovan for his portrayal of J. J. Jones, corruption personified. Jones is a man able to whisk people away to asylums with no need of warrants. Scary indeed.
Changeling shares a theme with several of Clint Eastwood's other films. Unforgiven and Flags of Our Fathers come most readily to mind. His lesson concerns truth and lies, and exposing the hypocrisy of falsehoods for want of the truth. The truth is rarely pretty, but generally preferable to lies, and will often come to surface, if given enough time. I doubt I will watch this struggle for truth for a long time to come (it's not one for casual viewing), but it's a very good film.
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