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Leo 2022-03-22 09:01:16

I always thought that affleck's famous work was "Tehran", but after checking Wikipedia, I found out that this is his directorial debut. I can't believe it was my first time as a director to make a film that, in my opinion, would go down in history.
The conversation between Patrick and Morgen Freeman at the end was undoubtedly the biggest tear in the audience. You can be heartbroken when you see Amanda's photo for the first time, you can cry when you see her poisonous mother saying that I will never take drugs again, as long as my daughter comes back and I change everything, you can You can cry when you see Patrick risking his life to run upstairs to the second floor only to see the boy's body, you can cry when Uncle Amanda sits in the pub and tells about the disgusting child abuse done by the child's poisonous mother, you can Cries as Morgan Freeman recounts the death of her daughter. But, you don't have to cry, you can hold back, you can admire, this movie is really abusive, I'm really glad that there is no "based on a true story" in front of the movie, otherwise I can't help it . But you can't help it when you finally see Patrick and the Sheriff having what is arguably the most important conversation of the century about the little girl's future fate. The male protagonist has always been tepid. He looks like a loser on the outside, acts like a man, is fierce in his bones, speaks like a piece of tofu, but the last sentence "I don't want an adult woman to tell me, back then. You know where I am and I was stolen, why didn't you take me home? You were hired to investigate my whereabouts and you didn't keep your promise. Maybe she'll be fine after a while, but I won't "(Not completely accurate) This piece of dialogue reveals the true feelings, and most of them originally thought, "Oh, let her live at the sheriff's place, it should be like this, it will be good for her in the future! But there seems to be something wrong. Big pair..." The audience suddenly found the backbone. Originally, the unswerving support for the little girl should live in the director's house from now on suddenly turned into a slap in the face. Because, after all, you don't know what the future holds. After a few months, does Amanda start to miss her mother? Parents who are close to the age of grandparents, will they be questioned and discriminated against by other students in school (even the best school)? Where did I come from and what happened in the past? How did she react when she found out the truth? In the face of a 4-year-old girl who has nearly a lifetime of the future, your heart is not so sure that it must be right. At this time, after experiencing such a long period of abuse, your heart can no longer hold back, and tears welled up in your eyes. How could such a dilemma really occur? WTF? But in this situation, it is reasonable and reasonable.
So Patrick felt that he made the right decision, and the audience also felt that no matter what, the child still had to go back to his mother. Didn't she cry bitterly and say she wants to change? Maybe it really changed? After all, her brother can stop drinking for 23 years? However, in the final analysis, the audience, like Patrick, has no clue as to whether Patrick's choice is correct. So as I said in my short comment, Patrick has to pay attention to Amanda all the time, even more than his own daughter (if he has one in the future). Because he has to be sure at all times that he made the right decision at the time. But judging from the end of the film, it's a pretty rough start. There is a long way to go.

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Extended Reading

Gone Baby Gone quotes

  • Officer in Procession: [approaching Patrick and shaking his hand] Mr. Kenzie. Nice fucking job on Corwin Earle.

  • Patrick Kenzie: I'm calling state police in five minutes. They'll be here in ten.

    Capt. Jack Doyle: Thought you would've done that by now. You know why you haven't? Because you think this might be an irreparable mistake. Because deep inside you, you know it doesn't matter what the rules say. When the lights go out, and you ask yourself "is she better off here or better off there", you know the answer. And you always will. You... you could do a right thing here. A good thing. Men live their whole lives without getting this chance. You walk away from it, you may not regret it when you get home. You may not regret it for a year, but when you get to where I am, I promise you, you will. I'll be dead, you'll be old. But she... she'll be dragging around a couple of tattered, damaged children of her own, and you'll be the one who has to tell them you're sorry.

    Patrick Kenzie: You know what? Maybe that'll happen. And if it does, I'll tell them I'm sorry and I'll live with it. But what's never gonna happen and what I'm not gonna do is have to apologize to a grown woman who comes to me and says: "I was kidnapped when I was a little girl, and my aunt hired you to find me. And you did, you found me with some strange family. But you broke your promise and you left me there. Why? Why didn't you bring me home? Because all the snacks and the outfits and the family trips don't matter. They stole me. It wasn't my family and you knew about it and you knew better and you did nothing". And maybe that grown woman will forgive me, but I'll never forgive myself.

    Capt. Jack Doyle: I did what I did for the sake of the child. All right. For me, too. But now, I'm asking you for the sake of the child. I'm begging you. You think about it.