Cast: Robert Redford, James Gandolfini, Mark Ruffalo, Delroy Lindo, Steve Burton
Director: Rod Lurie
Producer: Robert Lawrence
Screenplay: David Scarpa and Graham Yost
Cinematography: Shelly Johnson
Music: Jerry Goldsmith
U.S. Distributor: Dreamworks
The Last Castle, the latest from director Rod Lurie (The Contender), is a rousing adventure film that entertains despite a raft of plot implausibilities. And, with its themes of courage, honor, and redemption, it is likely to find a strong reception in a marketplace where views have shifted since the events of September 11, 2001. (A scene late in the film fits right in with the mood of patriotic fervor currently gripping the nation.) The movie is involving in a way that makes suspension of disbelief easy - you don't start to question the likelihood of what happens until the end credits have finished.
Robert Redford, taking a break from behind the camera to do some acting-only work, plays decorated three-star general Eugene Irwin, who has been court martialed as a result of disobeying an Executive Order. For his crime, Irwin has been sent to the military prison "The Castle", where he will serve out his ten year sentence. The warden, Colonel Winter (James Gandolfini), is a huge supporter of Irwin's; however, when Irwin voices his disapproval of Winter's methods of discipline, a power struggle ensues. Winter's attempts to break Irwin's will backfire - the general's weathering of the warden's punishment earns him respect amongst his fellow prisoners. Soon, Irwin mounts a challenge to Winter's authority with the intent of removing the warden - even if it means taking over The Castle.
The struggle between Irwin and Winter plays out like a chess game between a Grand Master missing a few pieces and a lesser-skilled opponent with all of his intact. While Winter scores a few minor victories because of his initial superior position, Irwin sacrifices the occasional pawn in going after bigger prizes. Applying the chess metaphor to The Last Castle is apt (especially since the script mentions it on more than one occasion), but it is not meant to over-intellectualize the story. Lurie's film works because it generates suspense without going overboard. There are pyrotechnics, but they are not the sole point. The characters are developed with enough dimensions that they become more than cardboard figures moving through a plane of action. Even Winter, who is the clear villain, is given an understandable motive and a few redeeming qualities. And Irwin is guilty of the crime which landed him in prison; he's not someone wrongly condemned.
At first glance, this may seem to be a departure for Redford. The veteran actor's name would not be the first one to spring to mind for playing a conservative, by-the-book general. Nevertheless, because Irwin is essentially a noble figure, it's not really much of a stretch. And Redford's innate charisma works in the character's favor. Since we are predisposed to like the actor, it's easier to connect with the man he is portraying. And, in order for the film to work, we have to be able to sympathize with Irwin in spite of his tragic flaw. Meanwhile, James Gandolfini plays against type as Winter. Unlike Tony Soprano - who is all bluster and anger - Winter is inherently meek. He's a paper pusher with a large ego. He hides behind his desk, his uniform, and his men, sacrificing his pawns until there are none left. The supporting cast includes Delroy Lindo as Winter's superior and an old ally of Irwin's, Mark Ruffalo as a prisoner whose loyalties are unclear, and former soap heartthrob Steve Burton as Winter's right-hand man.
Ultimately, The Last Castle is about redemption. This is almost always the case in movies that transpire in and around prisons, since criminals usually have much of which to repent. So, one by one, we are given the opportunity to see these individuals take their shots at redemption through acts of foolhardy heroism, outrageous courage, and plain stubbornness. Not everyone survives, but, in a struggle like this, dying takes a back seat to salvation.
I have a suspicion this movie will play much better to men than to women. It's a fact of life that there are "chick flicks" and "guy flicks", and this one falls in the latter camp. That's not to say that women won't enjoy The Last Castle - the emotions it generates are universal - but there will be a greater appeal to the male gender. At 130 minutes, this is a fairly lengthy motion picture, but Lurie keeps things moving so that the proceedings never bog down. Shelly Johnson's cinematography is evocative without being overly arty, and Jerry Goldsmith's score frequently recalls the music he wrote for Patton 30 years ago. Taking all of the elements together, The Last Castle is winning entertainment - the kind of bold cinematic tapestry I wouldn't mind plunking down $10 to view.
© 2001 James Berardinelli