At nearly 90 years old, the legendary Clint Eastwood is still making movies! Good ones, at that! With his latest film, THE MULE, we’re treated to a twofer as the man with no name not only directed this picture but stars in it as well. And no matter how you might feel about Eastwood’s politics, this seasoned veteran remains one hell of a storyteller. His body of work is so impressive, in fact, that it would be a crime to simply dismiss him as “That crazy old dude who once had a conversation with an empty chair.” After all, we’re talking about the man who gave us DIRTY HARRY and UNFORGIVEN.
In THE MULE, Eastwood is Earl Stone, a no-nonsense but playful Korean war veteran who’s saddled with a lifetime of regret. He has an ex-wife (played by veteran Dianne Wiest) who can’t stand him and a daughter (Alison Eastwood) who’s equally dismissive, but despite all the family dysfunction, Earl is hoping he can make things right in his golden years. The thing is, this man has a misguided idea of what the concept “making things right” actually means.
In an effort to prove his worth to a family that barely wants to speak to him, save for a loving granddaughter (Taissa Farmiga) who always appears to give grandpa the benefit of the doubt, this somewhat delusional old timer opts to become a drug mule for a Mexican drug cartel in an effort to buy his family’s love…And a badass new truck! Crazier still, Earl’s laid-back demeanor and “I’m going to say what’s on my mind” sensibility make him the perfect man for the job. He becomes so good as a transport driver and is so seemingly oblivious to the actual danger he’s in, that the various members of the cartel who he encounters along the way don’t always know how to react to him.
Admittedly, THE MULE took me by surprise because while it is a slow burn, it isn’t the tension-filled movie the trailer would have you believe. In fact, there are more laughs in this picture then there is tension. Most of those laughs come in the form of Earl’s “I don’t give a shit!” attitude but it’s that very attitude, for better or worse (mostly worse), that
Eastwood is really good in this picture and if he chose to end his career with this performance, it would be a stronger showing than Robert Redford‘s much talked about swan song, THE OLD MAN AND THE GUN although it should be noted, I liked that film, too. What’s interesting to note here, is that Eastwood sort of serves as both the protagonist and the antagonist. True to form, this legendary performer is hellbent on taking a non-PC approach in a very PC world and that’s sure to ruffle feathers. Look no further than a scene in which Earl crosses paths with a lesbian biker crew and another in which, while on a drug run, he pulls over to help a black couple change a tire on the side of the freeway. In both scenes, Earl uses words that could be best described as derogatory in nature. The thing is, though, THE MULE is pretty unapologetic in its approach with such moments. Furthermore, this film isn’t necessarily condoning or condemning Stone’s behavior in any way. It’s simply presenting this man the way he is. And rest assured, this undeniably flawed character does answer for the majority of his sins.
Per usual, Eastwood is impeccable when it comes to casting. In addition to fine work from the likes of Garcia, Wiest, Cooper, Farmiga, and Ignacio Serricchio, THE MULE is peppered with wonderful character actors including Michael Peña, Laurence Fishburne, and Clifton Collins Jr.
As for Eastwood the director, he’s still got it, most notably during the character beats. The strained but growing bond between Earl and a stern cartel drug enforcer (Serricchio) is among the film’s most interesting. Likewise, an exchange between
THE MULE doesn’t necessarily showcase Eastwood at his very best. There are missteps along the way. Occasional melodramatic overload, out-of-place-laughs, an uncomfortable scene involving Earl and a pair of prostitutes, etc., but at the very least, this movie represents a storytelling icon who, even in his late 80s, clearly still has some gas left in the tank.
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