Shutter Island (2010)
Director: Martin Scorsese
Stars: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley and Max Von Sydow
If you’ve watched Scorsese’s library of films, you know that he applies a certain signature to his films using different techniques. Quick and numerous edits (see Note 1) are common. He uses extreme close ups and matching sound, such as a key going into a prison lock with the sound of the prison cell opening (to keep the action moving). Mr. Scorsese loves composing montages loaded with music, almost like a music video. Another one of his moves is using voice over dialogue to assist the viewers understanding (used exhaustively in Casino, which will be an exhausting entry for me). Extremely “hot” lighting from directly above his characters is yet another technique the veteran director uses. But in Shutter Island, these “signatures” are not overwhelmingly used, but are inserted maturely and effectively for the benefit of the story. If I hadn’t known Scorsese directed this picture, I would have been both shocked and not surprised to find his credit at the end – I know, that’s an odd comment.
The story consists of a 1956 investigation by two U.S. Marshall’s (DiCaprio & Ruffalo – sounds like an Italian shoemaker) into a missing “patient” at a maximum security mental hospital on the remote Shutter Island in Boston Harbor. Even from the primary shot of DiCaprio’s Teddy Daniels on the ferry boat, we know there is something amiss. The fact that this feeling of uneasiness is effectively communicated through the film up until the Act 3 finale is a tribute to the film makers.
Hitchcock always explained “action” as a four fellows sitting around playing cards at a table – and a bomb goes off! He described “suspense” as one of the fellows coming in early, putting a bomb under the table, then welcoming his friends to play the game – and the game goes on, and on, and on… It’s like Shutter Island is a demonstration of this description of suspense. From Teddy and Chuck’s initial investigation into the hospital staff to Teddy’s World War II flashbacks to Ben Kingsley & Max Von Sydow’s creepy performances as the superintendents of the facility, this film keeps you guessing and captivated until the end. Shutter Island gives us a great roller coaster ride of suspense reminiscent of Psycho (see Note 2), Rear Window and Rope (not Vertigo – repeat, NOT Vertigo).
Let me expand on how excellent this film is from a technical perspective: it has great sets and spaces for investigation like winding staircases, remote lighthouses, the creepy “Cell Block C” and mausoleums in the forest. I’ve alluded to the lighting and cinematography, and there’s one scene in particular when Teddy has a flashback about his deceased wife, which is just expert! There’s white lighting coming from overhead Teddy and his wife while fire blazes in and around their apartment living room – and ash falls like snow from the ceiling. Even the sound effects such as fog horns, harbor bells, rain falling on the windows and the sinister music contribute to the overall feeling of suspense. Talk about re-creating the feeling of a dream… In short, this film was firing on all cylinders: Scorsese used all of the film tools in his work bench to produce a real treat.
Many of my friends – particularly my “film snob” pals – said “don’t get your expectations too high” regarding this film. Perhaps that’s the right direction? All I know is that I really enjoyed “the ride” this flim gave me. I didn’t feel cheated by the end, either, which was perhaps what my “film snob” pals were referring to.
Note 1: I just want to give a special appreciate note to Thelma Schoonmaker, who has been Scorsese’s editor on many of his films – Raging Bull, Goodfellas and The Departed to name a few. I think the editing of a film is as essential as the acting or the sound or the image itself – you cannot do without it! And it’s one of the many elements of “film art” that is easy to take for granted. I was really relieved to see Ms. Schoonmaker grab an Oscar for The Departed, because I think she’s one of the best in the business and an important part of what makes the end credit legitimately say “A Martin Scorsese Picture”.
Note 2: Here’s a little bar/tavern trivia for you – did you know that Hitchcock never got himself a driver’s license? Why, you ask? Glad you did! Because he was terrified of being stopped by a policeman! This intel might come in handy next tmie you watch Psycho, too.