Some movies aren’t fun to watch, but still have value at an intellectual or artistic level. Some are a blast to sit through, but the overall experience is much more entertaining than the mediocre sum of it’s parts. But watching a film that does neither doesn’t make for a very rewarding or satisfying experience. Such is the case with Martin Scorsese’s latest, Shutter Island. A psychological thriller that isn’t all that thrilling, regardless of all the detail put into each of it’s many parts.
The film is the latest collaboration between Scorsese and Leonardo DiCaprio. It follows the story of Federal Marshal Teddy Daniels (DiCaprio), as he and his partner Chuck (Mark Ruffalo) attempt to unravel a mystery surrounding the disappearance of an inmate on Shutter Island, an isolated institution for the criminally insane. As Teddy and Chuck navigate the prison grounds and interview both staff and inmates, it becomes evident that Teddy’s screws are slowly coming loose. Visions of past traumas from his time as a soldier in WWII and of his late wife Dolores (Michelle Williams) haunt him throughout the investigation.
As these hallucinations build, so does the dramatic tension between Teddy and his surroundings. Sinister vibes are everywhere, from partner Chuck, to the prisons head doctor, Dr. Cawley (Ben Kingsley), to the island itself. What is real? What’s in Teddy’s head? Who has good intentions? Who’s just plain crazy?
In lesser hands, these questions would be too obviously asked or answered. Scorsese however, brings his experienced eye to every scene. No glare or smirk is void of some disguised intent. One of the most notable examples is early on in the film. Teddy is introduced to one of Dr. Cawley’s associates (Max von Sydow) sitting in a menacing wingback chair beside a roaring fire. The combination of sharp wordplay between Teddy and the other Dr., the distorted camera levels Scorsese uses for each characters exchange, and Sydow’s eerie antagonism vs. DiCaprio’s quick fuse, produce a very well orchestrated scene.
It’s because of this skill and thoughtfulness that is put into each piece of the film that makes it difficult to fault any one area entirely. The script is a competent adaptation (of a Dennis Lehane novel), the performances are well balanced, and the direction isn’t without purpose. But unlike so many of Scorsese’s other films, this one leaves you somewhat empty. It has twists that don’t intrigue, complex characters that you’re not invested in, and an environment that is at once both ominous and somewhat dull. I appreciated the care put into the movie, but didn’t really care about where it was going. It was like watching a tract home be built out of imported marble.
Ultimately, the most entertaining movies are those that use the art of film-making to an unmistakable affect on an audience. A director presents their intent, and the audience is impacted by it, for better or worse. Shutter Island is in an odd category. It’s 138 minutes of meticulous intent, and we’re left feeling neither better nor worse for sitting through it.
-Gabe Garagliano
DiscSox Team Member