Clint Eastwood carries ‘The Mule’
Clint Eastwood is the Hollywood equivalent of the engine that could: Quite admirably, he just keeps going and going. And at an age where it might be challenging enough just to direct a movie, he also still puts himself front-and-center as its star.
“The Mule” is the latest of those exercises, and it gives Eastwood a great character: a senior citizen whose personal life is on the ropes, to put it mildly, but he finds surprising redemption and financial success for himself in becoming a drug transporter – or a “mule” – for a Mexican cartel.
Where this becomes much more than a standard crime drama is in the role and how Eastwood plays it. Regrets? This man has had a few ... actually, many more than a few, especially where his long-neglected ex-wife and daughter are concerned. The daughter is played by Eastwood’s own offspring Alison, giving their scenes together an authenticity you can’t buy.
Past Eastwood colleagues Laurence Fishburne and Bradley Cooper resurface as DEA agents who eventually get clued into the old-timer’s activities, and Dianne Wiest has some heartbreaking moments as the ex-wife. However, there’s no doubt that “The Mule” belongs to Eastwood, and what’s especially impressive and gratifying is that he knowingly uses it to let his image show some wear and tear.
Those with degrees in psychiatry might speculate how much the Hollywood veteran wants his latest alter ego to mirror the effects of the lengthy career run he’s had himself. For viewers, this might just be the most vulnerable Eastwood has allowed himself to be seen since “The Bridges of Madison County” – and that’s almost a 25-year gap.
Dianne Wiest and Clint Eastwood