In recent times the mystery thriller genre has had a resurrection with studio productions like "Gone Baby Gone," "Zodiac" and "The Girl with the Dragon Tattoo;" Denis Villeneuve's "Prisoners" is latest major film in the category. The movie is a gripping and tense ride that marks one of the most effective English debuts for a foreign filmmaker.
"Prisoners" tells the story of two girls who are abducted on Thanksgiving. When the police are unable to solve the mystery behind the abducted girls, Keller Dover (Hugh Jackman), one of the fathers, decides to take matters into his own hands and commits a greater crime.
On first glance, the plot seems simple and straightforward and one that ultimately has been done again and again over the years. However director Villeneuve goes deeper into studying each character by showing not only their imprisoned state but also asking the audience to question whether the character's actions are morally correct. Dover starts off as a loving and calm person but the moment his daughter is abducted he becomes rash and radical. When the police are ineffective he abducts the prime suspect Alex Jones (Paul Dano). At first he has no qualms with his actions and tortures the young man without pity. However he slowly starts to question his behavior and his own morality. At the beginning of the film Dover prays the "Our Father" as his son shoots a deer; towards the middle of the film as he tortures Jones, he stumbles upon the line "As we forgive those we trespass against us." At this moment, he stops praying, realizing that his sins do not allow him to forgive. The character, who had once quit his alcoholism, drags himself back into the addiction which further suggests that this man has transformed and will most likely never be the same person again no matter the outcome.
Detective Loki (Jake Gyllenhaal) is equally imprisoned as he is unable to find the two girls. As the case drags on his actions become more radical and his inability to think straight only causes him to make more mistakes.
The other characters are equally locked up in their pain and inability to communicate. Frank Birch (Terrence Howard) and Nancy Birch (Viola Davis) submit themselves to Dover's actions as they find no other way to find their daughter while Grace Dover (Maria Bello) relies on sleeping pills to forget everything. Meanwhile Alex Jones (Paul Dano) is literally imprisoned by Dover but at the same time by his inability to communicate with anyone. As Detective Loki says he has "the IQ of a 10-year-old."
At the heart of the film is Jackman and Gyllenhaal's intense performances. Jackman has never been so vulnerable on screen. In one scene he can be serene but at the next he is shattered and his emotions are dripping all over the place. During some of the torture scenes Jackman imbues pain as he hits Dano's character. However it is not only the pain of finding his missing daughter but also the pain he feels knowing that his actions are unforgiveable. It is the portrait of a man figuratively hurting and destroying himself as he hurts another being; it pains him to do it, but he also knows that this may be the only way out. In another scene Jackman breaks into tears and uncontrollably yells at Loki when the detective tries to reassure him about finding his daughter.
Gyllenhaal also has his share of great moments. In one scene, Gyllenhaal is filled with anger and an intense guilt for letting one important character commit suicide. Gyllenhaal's quiet demeanor in other scenes showcasing suffering characters also had a hint of apathy and detachment to his character, making him far from the typical strong and noble detective.
Davis, Howard and Bello imbue the grieving parents with utmost intense pain while Dano makes his character sympathetic in his vulnerability and yet morbid at the same time. Meanwhile Melissa Leo plays the most mysterious of characters as Dano's aunt and brings a haunting element to the film; she is practically unrecognizable in the role. David Dastmalchian adds an element of torment and madness in a small but crucial role.
The only flaw that may distance audiences from the film is its heavy-handed tone. Even though there is a tender moment between the two families sharing Thanksgiving at the start of the film, Villeneuve cuts to a trailer roaming around the neighborhood. The aforementioned opening shot, which features Dover's son shooting a deer, also adds to the dark tone of the film as it depicts murder and hints at the element of hunting that permeates the entire running time. Once the girls are abducted there is not one scene where suffering is not present. During the detective investigation the scenes are mostly shot at night and Villeneuve makes sure to add an element of suspense throughout to create the sense that one may actually be watching a horror movie. Additionally there are very graphic and disturbing images during some of the torture scenes. At one point when Nancy Birch is unveiling Jones's face after being hit by Dover; it is revealed to be completely deformed. The scene is quite graphic and frightening. There is also a sequence in which Jones is locked in a bathtub and Dover sprays him with frigid water. The viewer does not see the pain of the character, but his screeches coupled with Dover's facial expressions make for a rather unsettling experience.
The film's tone is set by the fantastic cinematography of Roger Deakins who shoots each scene in a very painterly manner using chiaroscuro to create the darkness and blue hues to deliver a cold element. Some of the most impressive shots include the aforementioned opening shot where the camera holds on the forest as a deer appears. The camera steadily dollies back to reveal two hunters. Another incredible shot is when Dover tortures Jones in the bathroom. Deakins holds on a wide shot with Dover in the center of the frame holding a hammer; Jones is off to the left side of the frame in a major focal point of the image. Dover starts smashing everything around him with a hammer he holds and starts breaking everything in sight. The shot is one of the most effective as it creates suspense; the viewer sees all of Dover's actions and watches him destroy everything around him except for Jones. There is almost the anticipation that he will eventually get around to the other character and start smashing him with the hammer. Another powerful aspect of this shot is that the viewer sees Jones' reaction to destruction and becomes one with audience; like him we are experiencing the mayhem and like him we are afraid of where the next hammer blow might land. The ultimate genius is that the image makes the viewer both the participant in Dover's actions but also the victim of his cruelty. Other impressive shots include some outdoor night exteriors, especially one scene lit with candles during a vigil for the Birch family. Another scene features Jone's face illuminated solely by the light that seeps in through a small hole; the lack of light emphasizes the claustrophobia this character is feeling while being tortured.
The score by Johann Johannson is equally impressive as the composer uses simple chords that create an ominous effect. He never shies away from the morbid tone and allows the music to creep about and haunt the viewer like the mystery unfolding; there are no grand musical gestures to add emotional relief or catharsis.
Overall the film is a gripping experience that will leave audiences drained by its 153 minute running time and somber tone. However it proves that genre pieces can still be smart and thrilling. Together with his outstanding cast, Villeneuve creates powerful and engrossing film that is among the best of 2013.
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