Absence of Malice

There's really no other word for it. I find the whole of this movie compelling, from Sally Fields' naivete to Paul Newman's innocent who turns the tables on his prosecutors, to the various supporting characters who all have their little niche. The best of all is Wilford Brimley, who gets to chew scenery and totally steal the scene he's in. It's an intelligent drama, addressing a subject as relevant today as it was in '81, with just enough humor to leaven the whole thing.

This movie looks to have all the elements of a classic but somehow falls short. Unscrupulous prosecutor dupes reporter Field into creating (false) impression that businessman Newman was involved in a murder, in the hope that will somehow help his investigation. The lie has unexpected and tragic consequences, after which Newman turns the tables. Field is fine as liberated yet vulnerable thirty-something, Newman is also good if a little obscure in a difficult role; but Brimley as Asst US Attorney steals the show when he finally blows the whistle on everyone. Brimley's short time in this movie really is classic and Oscar-quality. The overall problem here is a little too much soapbox and not enough real emotion from nearly everyone.

Paul Newman and Sally Field, though somewhat opposites both in their roles as Michael Colin Gallagher and Megan Carter respectively and in real Hollywood life, mesh and make believable lovers. Megan tells Michael that she is 30 something and doesn't need courting to play in the hay. Michael retorts, "Maybe I do," and drives away. Megan winds up somewhat of a failure both as a newspaper hound and as a liberated female. Then along comes Wilford Brimley in a bit part and runs away with the show. That's saying a lot since the well chosen cast gives it all they've got including ace jobs by Bob Balaban and Melinda Dillon.

The essence of the film is "What is the nature of truth?" What we read in the paper ain't necessarily so. Jibes are poked at bureaucrats too who certainly have problems determining what is truth. As long as the paperwork looks good then so goes the world. With the Horatio Alger success formula still around in the world of big government and big business, empire builders are a dime a dozen. Usually their asses are saved by cover ups and fall guys. In "Absence of Malice" the innocent victim outsmarts the bureaucrats and the Fourth Estate to bring the house of cards down, certainly an anomaly in the 21th century as it was in 1981, maybe even more so.

Admittedly, the film becomes too preachy at times which not only grates on the nerves but also slows the picture down. Yet the well-written script and Sydney Pollack's knowing direction keep it from becoming a total disaster. Not on the level of Pollack's previous "Three Days of the Condor" or his next feature "Tootsie," "Absence of Malice" still packs a wallop.

I taped this lauded 80's movie months ago and prompted by the recent death of Paul Newman, finally made time to watch it, only realising as I did so that its director too, Sydney Pollack, has also lately taken his last bow. The film is about the corrupting power of trial by newspaper to damage and sometimes destroy innocent lives and in this particular case of one man's courage and ingenuity in fighting back, even for what seems in the end a Pyrrhic victory against his malefactors. Pollack's favoured ouevre certainly seemed to be contemporary thrillers, often positing a faceless establishment body, personified by dehumanised no-names and their usually destructive oppression of innocent individuals. Although dated by things like contemporary fashions and background music, (no-one surely can defend this era for its style and music!) these films (and there were loads of them in the mid 70's and early 80's - "All the President's Men", "Dog Day Afternoon", "The Verdict", to name but a few, often directed by the two Sydneys, Pollack and Lumet, and peopled by acting heavyweights like Pacino, Redford, Newman, Winger and Fonda) represent a largely neglected sub-genre of quality movie-making rarely seen today. The film at hand here, "Absence of Malice" occasionally lacks narrative drive and suspense but makes up for that with everyday realism, for example drawing in themes on disparate subjects like abortion and trade-union relations. With Pollack's usual high-standard cinematography, particularly his naturally-lit interiors and indeed exteriors, you always feel that this fictional story could actually be happening here and now. It's helped by good dialogue and the skills of the ensemble acting cast. Newman walks away with the acting plaudits, effortlessly drawing the viewer's sympathy and admiration although I was very impressed by Melinda Dillon's underplaying of her part as Newman's "close personal friend", caught in the cross-fire and also Wilford Brimley's cameo as the State Department official who effectively acts as judge and jury at the mini-courtroom climax. Sally Field, who was briefly, at this time, the it-girl for modern-day character parts, lacks some heft alongside the predominantly male cast and at times plays the part more like Jean Arthur than Faye Dunaway. You can also see her acting at key points, particularly in the scene when Newman loses his temper and almost assaults her. Despite a brief (perhaps unnecessary) romantic liaison between the two leads, the film ends satisfyingly with an enigmatic shot of Newman sailing (literally) into the sunset leaving a chastened Field behind. In conclusion then, an intelligent, thought-provoking, well-structured and plotted movie, its main theme still relevant today in tabloid-land.

Absence of Malice is an alright drama that is smartly casted with Sally Field and Paul Newman. The story is interesting enough and moves along just fine until Wilford Brimley's character, he plays a no nonsense-no BS judge who sets everyone straight. It makes you grateful you sat through this okay film. Great job by Mr. Brimley. He makes it worth the price of admission(or video).