“Pledge” (2001)
Film Review by Julia Dudnik-Stern

I couldn't care less about what critics said about "The Pledge" at the time of its release. Excuse me, but I hardly think that anything directed and produced by Sean Penn and sporting a cast headed by Jack Nicholson, Robin Wright Penn, and Benicio Del Toro could

Jack Nicholson, Robin Wright Penn, and Benicio Del Toro star in "The Pledge." Photos © 2001 - Franchise Pictures, LLC.

ever qualify as inane or mediocre (among other colorful words used in reviews written by others). It is far more likely that this film met with such harsh criticism because it was misunderstood, and because it did not conform to Hollywood's latest formula of "remake, regurgitate, stick in as many action sequences as possible, include gratuitous nudity, and give them a happy ending while they are chewing on their popcorn." Although labeled a crime thriller, the more appropriate categorization of "The Pledge" is drama — and a tortured one at that. If you like in-depth character work, intensity, and a glimpse into the inner workings of a person's mind, this film will satisfy on every level. Characteristic of Sean Penn's directing style, "The Pledge" isn't an easy film to watch; it is disturbing and gut-wrenching, but the plot is quite realistic. On the last day of his working life, retiring homicide detective Jerry Black (Nicholson) examines his last crime scene, a snowy mountain where a body of a murdered 8-year-old girl is discovered. Black delivers the news to the girl's parents, a deeply religious couple — and this is where things begin to veer away from the norm. The devastated mother makes Black swear that he will find the killer, and swear he does. The reluctance with which he finally gets this pledge out is indicative of Black's character, that of a man who keeps his promises. Yet why would he make it? He is officially retired and is not working on this or any other case. Or is he?

Toby Jay Wadenah (Benicio Del Toro), a mentally disabled Native American, confesses to the crime almost immediately. This officially closes the case, but Black is far from satisfied. This take on the "retirement crisis" experienced by so many is taken to an entirely new level, as Black becomes completely obsessed with keeping his promise and finding the real (and serial) killer who he believes is still at large. Black arranges his entire life around this seemingly noble goal. In the process, he meets Lori (Robin Wright Penn), a battered mother of a girl that fits the killer's victim profile. Despite the surface normalcy of this budding relationship, one can't help but wonder why Black is involved with Lori: To protect her from further abuse? To protect her daughter from being the next victim? Or is it worse; is he using the gild as bait? As the plot unfolds, it becomes apparent that Black is walking on the very edge of sanity.

This film is not at all about the killer's identity (and you'll have to see it to find out what actually happens). It isn't about whether Black's conclusion is right or wrong. Rather, it's about the detective's inability to let go and the psychological crisis he undergoes as a result of this obsession. It's also about loss. Pain. It's about getting old, loneliness and morality, love and honor, reality and figments of a person's imagination. In a recent virgin.net interview, director Sean Penn describes the film as a take on the old proverb, "No good deed goes unpunished," but even the creator's description is subjective — to me, the story feels more along the lines of the road to Hell being paved with good intentions. Whatever your take on it, "The Pledge" is definitely not your typical police crime story.

Sean Penn's eye for detail and sensitivity to character definition are evident. The actors' performances are of a high caliber, and this applies to not only the three stars, but also the impressive supporting cast which includes Mickey Rourke, Sam Shepard, and Vanessa Redgrave. The film is rather expertly shot, and the near-deserted small Nevada town setting adds an element of drudgery, monotony, and unease befitting the nature of the plot.

All of this is not to say that the film doesn't have faults. For me, the one thing that didn't make sense was casting: "The Pledge" is too much of a good thing. While Nicholson and, perhaps, Wright Penn are supposed to be the focal characters, the continuity of the film is interrupted by cameos, with an example being Rourke's portrayal of a father destroyed by the murder of yet another girl. Even Del Toro's excellent performance ultimately takes away from the film, making it hard to concentrate on the main storyline — and much the same can be said about Shepard and Redgrave, since this isn't supposed to be an ensemble film where each character carries equal weight. While a certain amount of detail is, of course, necessary to make the plot plausible, casting stars in tiny roles serves as a distraction. As a result, the only actor that manages to put forth a cohesive performance from beginning to end is Nicholson. Perhaps this is where Sean Penn's propensity for detail got the better of him; most of it should have been left on the floor of the editing room. Hence the movie feels too long.

Nonetheless, I couldn't help but wait for the ending, and it didn't disappoint: There were no formulaic happily-ever-afters, no grandstanding, and certainly no pretense. It ended the way it should have — answering all of the lingering questions and dispensing justice in an unexpected and thought-provoking way. Original and compelling, it was one of the few films that didn't offer up "the good guy" on a pedestal, and it stayed with me for a long time after I saw it.

Although "The Pledge" was met with "a rapturous reception" at the Cannes Film Festival (according to UK's Guardian), it is not destined for the Hollywood Hall of Fame, nor is it going to become a cult classic. Perhaps Sean Penn is right in pointing out that this film is better suited to European audiences which seem to prefer realism to the high gloss which has become so typical for US releases. Penn hits the nail on the head when he says, "I don't think there is any [enormous comfort] — or none that I can identify — in this [film]. [And] the American audience is just very interested in being comfortable." Well, here is one for those who live in the real world. Enjoy.

Loved by the tabloids for his rather colorful personality (not to mention having been married to Madonna), Sean Penn continues to present viewing audiences with work that is infinitely interesting than his highly publicized, supposedly controversial private life. Since his debut in "Taps" (1981), Penn has proven to be one of the most unusual, eclectic, and multitalented actors. Read more. After six Golden Globes, four British Academy Awards, three Oscars, and the grand prize in the form of his current 30-year-old girlfriend Lara Flynn Boyle of the acclaimed television series "The Practice," it's just plain obvious that there is something about Jack Nicholson. Read more. A former model, Robin Wright Penn started acting in television, spending a couple of years on the now-retired soap opera "Santa Barbara" and earning two Emmy nominations in the process. Her film career has been unusual; in fact, it is not a surprise that both life and work sees her paired up with Sean Penn, as Wright Penn has always been choosy of the projects she undertook. Read more. "The Usual Suspects" (1995 ) was released just when I thought Benicio Del Toro was going to be forever relegated to secondary roles. Having noticed him in bit parts before (mainly due to his unusual looks and distinctive demeanor), I was really glad that he finally broke into the big time — and his work that followed proved that this break was well-deserved. Read more.

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