Absolute Power

There are many things about this movie which are nice. It surely follows the Eastwood/Siegel/Leone tradition, quick takes etc. but it's a nice film in many ways. A nice touch is the musical theme written by Eastwood himself, the second time of late he has done this. There's jazz anytime Eastwood can get it in there, but the performances from Linney and Ed Harris are convincing. This is a stellar cast that is used well. And yes, you can glimpse the Santa Monica mountains in Washington DC...

When expert thief Luther Whitney (Clint Eastwood) breaks into the luxurious mansion of a politically influential billionaire (E.G. Marshall) , he is surprised by the arrival of a couple (Gene Hackman , Melora Hardin) . After their drunken shenanigans turn nasty that leads to crime and taking place a set-up in which everyone around him is involved . There is only one witness , an ultra-secretive master burglar . Luther is soon pursued by two cops (Ed Harris , Penny Johnson) , a hit man (Richard Jenkins) and the President security guards (Dennys Haysbert , Scott Glenn).

This is a light thriller in Hitchcockian style including action , suspense , thrills , improbable events and twisted intrigue . It is about the ruthlessness of people in power but the plot lacks even a political analysis or comment . This Eastwood film is solid but nothing really stick out . It is hard to take against contemporary time , as portraying a coward , cynical , traitor President , being politically incorrect for Hollywood standards . In addition , it contains some unlikely scenes as when the silly dancing between President/Gene Hackman and his cabinet chief/Judy Davis who wears a robbed necklace . Based on the novel by David Baldacci , being screen-writer the notorious William Goldman , who wrote such important successes as Marathon man , Butch Cassidy and Sundance Kid , All the President's Men , The princess bride , Misery , among others . This Absolute power (1997) was well-received as well as the subsequently shot Space Cowboys ; however , both of them don't rank with Clint's best jobs as actor/filmmaker . Adequate Clint Eastwood in his ordinary stoic acting as a professional burglar who witnesses both a crime and a cover-up . Nice acting by Gene Hackman as a philander President believes that everything he does is beyond reproach . Support cast is frankly well such as Laura Linney , Melora Hardin , Kenneth Welsh , Mark Margolis, Penny Johnson , Richard Jenkins and cameo of Alison Eastwood , Clint's daughter . Furthermore , the picture displays an atmospheric and sensitive musical score by means of piano composed and performed by Lennie Niehaus , Eastwood's usual . Colorful cinematography by Jack N. Green filmed on location in Washington and Los Angeles .

The film was professionally performed and directed by Clint Eastwood . It has some flaws and gaps ; but it's nevertheless solidly agreeable . The picture is far from his other big hits such as his first directed western , Unforgiven (1992) also with Gene Hackman , which garnered him an Oscar for Best Director, and a nomination for Best Actor . Then he took on the secret service in Open fire (1993), which was a success , followed by the interesting but poorly received drama , A perfect world (1993), with Kevin Costner as a thief . Next up was a love story , Bridges of Madison (1995), which was yet again a hit . Subsequent pictures were enjoyable but nothing to do with previous works . Among them were the and the badly received True crime (1999) and Blood work (2002) . Then in 2004, Eastwood surprised yet again when he produced, directed and starred in Million Dollar Baby (2004). The movie earned Eastwood an Oscar for Best Director and a Best Actor nomination for the second time . He had other successes directing the multi-award-winning films Mystic River (2003), Flags of our fathers (2006), Letters from Iwo Jima (2006), and The changeling (2008) . After a four-year hiatus from acting, Eastwood's return to the screen in the successful Gran Torino (2008) .

This movie is an entertaining thriller in spite of some implausible situations. Starring is Clint Eastwood who is at home as a loner who takes it upon himself to right wrongs, thwarts the activities of the rich and powerful and manages to stay just beyond the reach of the law and secret service agents. While not entirely faithful to the book, the film has its moments and moves along at a good clip but the payoff is a bit of a let down, considering all the risks Eastwood takes to protect his estranged daughter from harm. The cast, especially Gene Hackman, is great, and Ed Harris, Laura Linney, Dennis Haysbert and Scott Glenn are always good. The smooth, urbane E.G. Marshall, in his final movie, seems a bit out of character as a vengeful widower. Taken on its own level, the film delivers in fine style.

Absolute Power may not be an overly special film but it was the first movie I saw in the cinema after leaving high school. I was certainly not the target audience but it had my attention from the first scene and maintained the suspense for the during of the running time, even if it doesn't build to much.

Clint Eastwood plays Luther Whitney, an expert thief who targets billionaire industrialist Walter Sullivan (grouchy old EG Marshall, in his last theatrical movie) while he is off on vacation. While in the midst of cleaning out the vault the President of the United States (Gene Hackman) enters the room with Sullivan's wife. Whitney hides in the vault, which has a two-way mirror, and witnesses the President get a little too rough with the woman, which ends in her fighting him off and being murdered by the secret service. The Chief of Staff concocts a plan to cover up the murder not knowing that Whitney is watching the whole thing. As the group leave he escapes, taking a crucial piece of evidence with him.

Initially unsure what to do, Whitney decides to taunt the President, though it's not clear what his complete plan is or even if he's just free-forming. If one should fault Absolute Power for any reason it's that it establishes a lot of plot and potential but never really does anything with it and ends with an anti-climactic cop-out.

Where it succeeds is with the small cast of characters who really make the dialogue and relationships work. Ed Harris as the confused but dedicated cop investigating the case, Laura Linney as Whitney's resentful daughter, and the austere Scott Glenn as the self-doubting agent make every scene effortless even when there's not much happening.

Adapted from (and streamlined and improved in the process) the bloated novel by David Baldacci (I call them 'Airport novels' – those 600-page bricks with generic covers featuring nothing but the title and author in giant gold letters in a tacky font) the screenplay makes many changes but they are all for the better. Eastwood's direction is slow and steady – or 'mature'. The pace and framing is the antidote for anyone bored to tears with the nauseating aesthetic of today's comic-book movies and CGI nightmares.

A curious thing about the beginning of the movie is that Clint Eastwood only has 2 lines of dialogue for the entire 35 minutes. I don't understand why he didn't cut them out and remain silent, which would give the film a peculiar edge.

What starts out with immense potential gradually evaporates into preposterousness in ABSOLUTE POWER. That doesn't make it an entirely bad picture, but it certainly puts a damper on what could have been. Clint Eastwood is an aging thief (he's been an aging something or other for his last 20 movies) who secretly witnesses President Gene Hackman get rough with his mistress. The encounter ends with her being shot by the Secret Service as she tries to defend herself, and the incident is promptly disguised to look like run-of-the-mill foul play. He may be on the outside of the law looking in, but Clint ain't about to let the powers that be get away with this one.

The opening 20 minutes of ABSOLUTE POWER are quite suspenseful, bordering on mesmerizing. There we are, trapped in a walk-in, two-way mirrored vault along with our pilfering hero, helpless to stop the horror unfolding just meters away. Eastwood may start out as the bad guy, but his status is quickly upgraded as he flees the scene holding what may be the only piece of evidence that can prove his astonishing observation. From then on we find ourselves rooting him on, even if he is in reality nothing more than the lesser of two evils.

What unravels ABSOLUTE POWER is its laziness and improbability. In an attempt to set up one stirring scene after another, the characters begin doing and saying things one would expect of a low-rate Jean-Claude Van Damme movie. A one-dimensionally evil Secret Service man surreptitiously hunkers down in a tall building trying to snipe Eastwood ala Lee Harvey Oswald. A police detective has no problem with Eastwood sneaking around his home at all hours of the night. A three-minute argument by Eastwood's thief is enough to convince the mistress's widower of the involvement of the most powerful man on earth. And to call the ending outlandish and unsatisfying would be a pair of understatements.

As well, though it's usually the other way around, ABSOLUTE POWER would have benefited from a longer running time. One comes away with the sense that Eastwood, who also directed, tried to cram too much into too little. The film certainly had the material to go longer, and its compactness gives the whole endeavor a choppy feel at times.

ABSOLUTE POWER is a film you really want to like. There is considerable talent involved here, and the movie's heart seems to be in the right place. But like that one photo we all have in our album, this one didn't turn out as good as we would have hoped.