Big Screen Peter: Hereafter

Editor’s note: Peter Lewis has agreed to use whatever it is you call his writing style to provide some measure of analysis to those folks who still go to a theater to see a movie.

review by Peter Lewis

“Hereafter” is a Dickensian sort of film, but not in the general sense. It doesn’t explore social conditions or societal hypocrisies. Instead, it is a focus on the life of a unique individual — George Lonegan — struggling within the confines of general society. And like the plight of David Copperfield or perhaps Oliver Twist, Lonegan passes through the strictures of his reality and into true happiness courtesy of incredible coincidences.

Though there are two complimentary episodes that run concurrently through the movie, “Hereafter” is the story of the aforementioned George Lonegan, played by Matt Damon.  Dependent upon the point of view, Lonegan is either cursed or blessed with the gift of speaking to the dead. Previously, Lonegan tentatively embraced his powers, using them to support himself, but left that behind him in his attempt to create a “normal life” for himself (his efforts included working a 9-5 at a factory and taking cooking classes at night).

While the conscious effort was one toward normalcy, the reality of Lonegan’s plight is manifested in a desire for connection. Every interaction he has with people — apart from his brother, perhaps — is tinged with what has transpired in their lives. He doesn’t see their joy for poetry or passion for football, his connections are those tragic secrets, the deep emotions we’ve stashed away. So although “Hereafter” is marketed as a paranormal drama, it’s really a love story: one man’s search for the possibilities to be found in emotional exploration.

Is the film successful in the relation of this story? Not entirely (given the track record of director, Clint Eastwood, this amounted to a fair surprise — from “Unforgiven” and “Midnight in the Garden of Good and Evil,” to “Mystic River” and “Gran Torino,” Eastwood has continued to prove himself as one of the better directors around. The film is weighed down by Damon’s pedestrian performance.

Damon has certainly participated in some great films, but he has largely made his name giving every guy performances. He’s someone the audience can latch onto, the all American kid next door. “Hereafter” is simply not that sort of movie. His performance is blank, bordering on Keanu’esque dullness. No true emotions — apart from his hopefulness as the film closes — really seemed to emanate from within.

While Lonegan attempts to find some definition of normalcy for his life, Eastwood weaves two additional threads. The first features Cecile de France as Marie Lelay, a successful television journalist, while the second features Frankie and George McLaren as Jason and Marcus, two young boys growing up in London with a drug-addled mother. Though they both offered pulsating sequences of horrific damage, the concurrent stories of Marie and Marcus’ attempts to move forward with their lives offered no real emotional connection. This failure restricted the possibilities of “Hereafter.”

Part of Dickens’ greatness was his ability to weave impossible coincidences into a true and affecting reality for his characters. As the film closes, George Lonegan finds himself at the crossroads of two unbelievable coincidences. They push him toward a reality that features a possibility for happiness. Unlike the beloved works of Dickens, however, one isn’t nearly fulfilled enough by this prospect. 

• Hereafter is playing at the Carmike 14 and the Malco Cinema 12 in Fort Smith. Link here for time and ticket info.

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