Death is not a particularly easy subject to talk about- because it is so real and yet so painful- nor is it a particularly easy topic to make a movie about- because it tends to be glossed over with maudlin sentimentality. But if there is a Hollywood filmmaker with both the courage and the adroitness to handle such a delicate subject, you can be sure that person is Clint Eastwood. Especially with his last decade of films, Eastwood has emerged as a sure-handed, confident filmmaker with a straightforward, no-frills style of directing.
That style suits "Hereafter" perfectly, his supernatural drama about death written by British prestige screenwriter Peter Morgan ("The Queen"). More than just death, Morgan also flirts with the afterlife, the 'hereafter' as the title suggests- basically, what happens after death. Admittedly, this is an even trickier subject, as any discussion about the afterlife inevitably ends up divided by religious beliefs. Eastwood and Morgan sidestep these potentially divisive issues, portraying instead the afterlife in the form of blurry figures against a bright white light in the background.
It isn't that far-fetched, since many real-life survivors of near-death experiences have reported the same sighting. This vision of the afterlife is the common thread running through three disparate stories in Eastwood's film that is as interested in death and what comes after, as it is on how that affects the living. The former is the theme of the third story, telling of the devastating effect that the death of a young boy Marcus' (George and Frankie McLaren) twin brother has on his life with his drug-addled mother, and his subsequent preoccupation to talk to his deceased sibling.
The other theme of death's effect on the living is brought out through the first two stories- one of how Cecile de France's French journalist Marie has a dramatic change of perspective in life after surviving a powerful tsunami while vacationing in Indonesia; and the other of how Matt Damon's psychic George deals with his gift of being able to communicate with the dead. As with any other Eastwood drama, viewers ought to be patient because it is only within the last 20 minutes that Eastwood draws these stories together to a heartfelt conclusion, and thus abandoning the narrative rigidity of the earlier storytelling.
Whereas filmmakers like Alejandro Inarritu might have opted for a non-linear approach in telling their story, Eastwood chooses to follow the same beat (Marie-George-Marcus) throughout the film. While that makes for an easier time following the various story threads, the film could certainly have benefited from a more fluid and less workmanlike rhythm. But Eastwood's storytelling strength lies in his warmth and sensitivity for both the story and its characters- and thanks to this, "Hereafter" is never less than compelling throughout.
Each of the three stories will speak differently to different viewers- those who have lost a dear one will identify with Marcus' grief; those who have survived a near-death experience will identify with Marie's struggle; while those who have certain extraordinary abilities will identify with George's plight. Of these, George's is probably the most well-developed and interesting, especially in illuminating how ignorance may indeed be bliss when it comes to a knowledge of the unknown.
This story also benefits from one of the best performances in the film, Damon delivering a understated yet intimately powerful portrayal of a psychic whose attempt at any semblance of a normal life or contact with people is all but futile thanks to his "gift". Not that the other actors aren't good- Eastwood has always had a knack of coaxing the best out of his actors, and the tender performances of de France and the McLaren twins attest thoroughly to that.
As expected of a film with the subject of death and the afterlife, "Hereafter" is likely to divide audiences, as it has done for critics. But kudos to Eastwood for deftly handling such a difficult and divisive subject with carefulness, nuance and empathy, especially evident in how life-affirming its conclusion turns out to be. It is a meditative experience that will make you think about death and lies after, just as it convinces you that life in the here and now should not be lived in fear of the beyond, but an appreciation of its certainty.
