Clint Eastwood, for better or for worse, has made a substantial impact on cinema, both as an iconic actor and as a director whose works span over five decades and include a number of significant accolades and positions within the canon of great American filmmaking. One could argue that Eastwood’s work is very much hit-and-miss, and his work stands as being quite divisive, especially more recent work that hasn’t stood the test of time in the same way some of his earlier films have. However, amongst his finest achievements is Mystic River, a film that isn’t much more than a by-the-numbers urban crime story, a thriller about a mystery and the social ramifications it has on the individuals involved, and the community as a whole. Mystic River is a film I watched several years ago for the first time and was suitably captivated, but otherwise only marginally impressed – it was a revolutionary work, and while it was undeniably a good film, it wasn’t too memorable, with the exception of a few moments (someone of which linger on in the memory for the wrong reasons). A recent revisiting of the film produced two thoughts: Mystic River is a good, but not entirely great, film, and that it is a well-made crime film that doesn’t redefine the genre, but stands firmly alongside similar films as diverting, captivating examples of quality contemporary filmmaking.

In brief, because Mystic River is hardly underseen or under-discussed, three boys from working-class Boston are playing innocently one afternoon. A pair of men, claiming to be authorities, coerces one of the boys into his car with the intention of reporting him to his mother about some childish mischief they were caught engaging in. Dave endures days of sexual and psychological torture by these men before making his escape. Approximately twenty-five years later, Dave (Tim Robbins) has reintegrated back into society, has a wife (Marcia Gay Harden) and a family, and a decent life of his own. His two childhood friends also remain in the neighbourhood – Jimmy (Sean Penn) is a former criminal who has decided to go straight and earn a decent living for himself, his wife (Laura Linney) and his children, including his oldest daughter (Emmy Rossum), running a local store. Sean (Kevin Bacon) is a detective working for the local police department, having drifted apart from the more working-class sensibilities of his childhood friends. A tragic event brings the three boys back together again for the first time, involving them in a brutal game of wits after a traumatic incident shakes their lives and forces them to confront their past demons.

Normally, when someone mentions Mystic River, the first thought that comes to mind is the now-iconic “Is that my daughter in there?” scene, a piece of acting that can most politely be described as broadly energetic and certainly very spirited. It comes on behalf of Sean Penn, an actor known for his subtly and dedication to playing quiet, introspective characters. In all seriousness, Mystic River is a film that is known for its performances – just not particularly good ones, and as the lead, Penn is given carte blanche to engage in the same animated histrionics that we often see from him. It isn’t to say Penn is necessarily a bad actor – because if someone can portray a character with the full might of over-the-top artifice, it certainly is Penn. Mystic River is just not amongst his most nuanced. However, there are some moments in this film, in between the broader ones, where Penn shows considerable depth, and actually approaches the realm of appearing somewhat realistic. The role of Jimmy calls for someone who can portray both aspects of the character – the sleazy, depraved and violent ex-criminal, and the loving, dedicated family man who experiences a traumatic event that no parent should have to endure. Penn, for the most part, does pull it off relatively well – it is an authentic performance most of the time, and even in scenes featuring an abundance of Penn’s patented hysterics, he does strike a raw nerve in his portrayal of Jimmy. It definitely isn’t a performance that conveys the introspective depths of acting, but it does linger on, and Penn is very good, despite his tendency to go too far in his performance. Perhaps that’s exactly what we needed from Jimmy – intense, cold and artificial, because how else can we feel this strange blend of pity and resentment if not for a character who is equal parts endearing and despicable?

Tim Robbins alternatively gives one of his strongest performances as Dave Boyle, the victimized boy who grows into a fractured adult. Robbins gives a tremendous performance as Dave, and considering the path the film wants the audience to take in solving in the central mystery, the role required an actor who would bring life to a character who is certainly fragmented, recovering from decades-old psychological wounds that have left an indelible impression of his mind, as well as creating enough doubt in us to not ever be entirely sure of the true motives behind this character – it becomes evident almost instantly that Dave is the prime culprit in the central murder, and the role of Robbins in Mystic River isn’t to try and play a character hiding the secret to what he did – it is to plant enough doubt in our mind, despite the evidence, to make us question as to whether we believe he did it or not. This is where Robbins excels, and while he has given better performances, his role Mystic River provides him with a showcase for his talents as a character actor, allowing him to shed his effortlessly likeable leading man status and rather play a sinister, mysterious character. Besides Penn and Robbins (who form the core of the story), Mystic River is filled with some tremendous supporting performances – Kevin Bacon is terrific as the conflicted cop who has to resolve the fact that despite how objective he is supposed to be with this crime, his past will impinge upon his investigation, cloud his judgment and ultimately influence how he perceives the crime and its suspects, especially when the prime candidate his one of his best friends from childhood. The unheralded powerhouses of Mystic River are Laura Linney and Marcia Gay Harden, both of which are mainly relegated to small roles but are given moments that are pivotal to the film, thus making their impact on this film and its star-studded ensemble cast.

Mystic River was released in 2003, and understandably it was quite the sensation sixteen years ago when it was released. Watching it in 2019 is a very different experience, because it almost seems like it is so similar to films that came after it, it stands alongside them, rather than being cited as an influence on films like The Departed, A Guide to Recognizing Your Saints, Black Mass, Gone Baby Gone and The Town. This is the archetypal crime thriller set in Boston, which is evolving into a sub-genre all on its own, and while it certainly is a run-of-the-mill mystery drama, it does make some fascinating statements, especially in regards to the strong bonds of society – Mystic River would have been far less successful had it not been set in the small, working-class suburbs of Boston, where family is the biggest concern and the most important aspect of someone’s life. It looks at the concept of community and how it can be shaken through a traumatic event – a murder is always a tragedy, but this isn’t the main concern of Mystic River, which is rather less focused on the crime itself and the perpetrator, but rather in how the residents, who pride themselves on knowing their fellow neighbours, react to it, and how such an event can both divide and unite a community. Mystic River is far less predictable, and even begins to gain a certain elegance, when you realize that Mystic River is less of a crime thriller, and more of a social drama centred around a tragedy. This is precisely where its strengths remain, and what it lacks in originality, it compensates for in strong character development and a palpable sense of community.

In essence, Mystic River is a very good film – it may be a constituent of a sub-genre that is not normally known for its subversiveness or its originality, and it may tread familiar waters for the most part. However, Eastwood has made a traditional crime thriller that comes with the same predictability as other films of its kind, but also the gruff elegance and genuine sense of mystery that is often missing from more unique crime films. The performances are quite good, with Tim Robbins being the standout, and Sean Penn being at his most spirited, but also showing some remarkable restraint in certain instances. The ensemble is solid, and the writing is composed well enough to create a suburban crime odyssey that is constantly fascinating and enthralling for the entire duration. Mystic River may not be entirely original, but it never appears dull, and the audience will certainly be captivated, perhaps not by the broad storyline, but rather by the underlying themes of community and family, grief and trauma and the personal demons each individual has to fight. Mystic River is a time-capsule of a film – a simple, unfurnished crime thriller that represents a period where these kinds of films could be straightforward, being captivating without necessarily being innovative. It may not be the most cerebral of its genre, but its certainly a very good film, and it does deserve some form of re-evaluation, because it is, in spite of all its shortcomings, a very good film.