#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Laconic and self-contained, Edward Wilson heads CIA covert operations during the Bay of Pigs. The agency suspects that Castro was tipped, so Wilson looks for the leak. As he investigates, he recalls, in a series of flashbacks, his father’s death, student days at Yale (poetry; Skull and Bones), recruitment into the fledgling OSS, truncated affairs, a shotgun marriage, cutting his teeth on spy craft in London, distance from his son, the emergence of the Cold War, and relationships with agency, British, and Soviet counterparts. We watch his idealism give way to something else: disclosing the nature of that something else is at the heart of the film’s narration as he closes in on the leak.
Plot: Edward Wilson, the only witness to his father’s suicide and member of the Skull and Bones Society while a student at Yale, is a morally upright young man who values honor and discretion, qualities that help him to be recruited for a career in the newly founded OSS. His dedication to his work does not come without a price though, leading him to sacrifice his ideals and eventually his family.
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An incredibly complex work and one of 06’s finest…
The Good Shepherd 3.5/4 4/5
The Good Shepherd is an incredibly complex work and one of the finest films of a quality ripe 2006. Oscar winner Eric Roth continues his brilliant work with this original screenplay, named one of the best unproduced scripts in Hollywood in the late 90’s. A film about one of the CIA’s founding officers isn’t a dream project commercially for a studio but thankfully, the quality of the script was too great to ignore.
Shepherd follows the life of Edward Wilson (Damon) through his college years at Yale to his ascension as one of the CIA’s founding officers and trusted veterans. His extraordinary dedication to his work comes with an unbearable price as he must sacrifice his family to protect his country. At one point in the film, Wilson faces an enormous choice- does he abandon his ideals for what he believes is right? Would this abandonment render his life, almost solely devoted to his country, meaningless? This, as well as a depiction of the result of Wilson’s decision, are just two of the moments of brilliance in The Good Shepherd.
Wilson inhabits a world of betrayal and secrecies only enhancing the irony of the biblical quote inscribed on the CIA’s wall- “And ye shall know the truth and the truth shall make you free”. While we are given a glimpse into the life of a younger, more vital Wilson, the world he occupies creates the characteristically stolid, humorless man we come to know.
With its vast emotional core, the film seemingly effortlessly navigates one of the most volatile periods in the history of American intelligence while remaining character based. At 165 minutes, it is overlong but remains engaging for the vast majority of its running time. Had a few relatively insignificant scenes been cut, Shepherd could have retained the thrilling and energetic pace it often possesses. However, the length is justifiable as the scope of the film is incredibly large and very few scenes can be deemed unnecessary or dull.
Robert DeNiro’s direction far exceeds that in his debut, 1993’s “A Bronx Tale”. Normally portrayed as a brute, here, DeNiro assuredly handles every moment with an innate tenderness we rarely see in his work. He appropriately treats Shepherd with a precise attention to detail often attributed to some of the greatest directors of our time.
A silently haunting Matt Damon carries the film on his shoulders. Edward Wilson is completely introverted and while Damon internalizes his thoughts, some of the films greatest moments are when emotion unknowingly pours out of Wilson through a mere flicker in his eyes. Angelina Jolie and Michael Gambon deliver very strong turns amidst a one of a kind cast topped off by the return of Joe Pesci, whose last acting stint was 1998’s “Lethal Weapon 4”.
The Good Shepherd is a film that demands to be seen. It is surprisingly apolitical as Wilson’s life and its disintegration are the true story of this epic. While some call it “unsentimental”, exactly the opposite is true. It is a testament to Roth’s script that a film with such an introverted protagonist provides such a visceral, affecting experience. Shepherd is an intelligent, poignant look at the cost of blind dedication and constant secrecy. The effect this has on Wilson’s life is irrevocable as we are taken on a remarkable cinematic journey, one that should be remembered as one of 06’s greatest.
A Thinking Man’s Film
A sincere congratulations to the filmmakers who wove this intricate deceit and an even sincerer kudos to the few who were able not only to remain in their seats but also to appreciate the latent hues of what appeared to many a sterilely colored film.
Any discussion of The Good Shepherd’s brilliant elements must begin with Matt Damon’s rendition of Edward Wilson, a Cold War era CIA agent ostensibly dehumanized by the tediously executed yet crushingly weighty protocol his career demands. Though his calculated veneer seems overly flat through the first portion of this lengthy film (take the almost unrealistically miniscule evidence of aging and his paucity of emotion), the subtleties of his character accumulate as the yawns around a transfixed viewer become more audible.
Speaking in generalities, Wilson’s is the story of a brilliant intellect suffocated by its acquiescence to a supposedly greater good. Anecdotally, consider a scene placed so early within the three hours as to have likely rendered it unremarkable in the memories of most viewers. During his initiation into a certain, influential society of “those whose country the rest of us are just visiting,” Damon’s character objects to the degradation of finding himself at the receiving end of a senior member’s urine. His brief unwillingness to surrender dignity in the name of subservience to an ethos (or the entity representing it) plants a seed in the mind of the attentive viewer that furtively blossoms throughout the rest of the film in the form of a repressed individuality that belies his increasingly mechanical visage. This is not the story of a bland civil servant, but rather a tale of the manner in which civil servitude can strip even a New Haven poet of his human vitality.
Yet another moment lost (perhaps) amidst the interwoven timeline that speaks volumes as to the principal character’s internal strife comes amidst the rubble of a newly divided Berlin. A still-young Agent Wilson quips that his superior’s weakness may not be the chocolate his mother bestowed upon him, but rather the eagerness for approval that such systems of reward engender. This insight proves incisive with regard to Damon’s character as he meets each request made of him throughout the remainder of the film with “would it please you?” Despite nary a camera delving into the inner workings of the KGB, one cinematographic cue during a scene that even the film’s critics laud speaks to the universality of the plight suffered by the cogs of inhuman (and inhumane) governmental locomotion. As Agent Brocco beats, tortures and strips nude a Soviet operative the CIA suspects to be a mole, one cannot help but notice the striking resemblance between John Turturro and the man he is waylaying as their faces mirror one another at close range for several moments. Even before the audience learns that this tragic figure was indeed telling the truth to his interrogators, it waxes ironic that doppelgangers in both appearance and dedication to national service drive one another to the film’s most heinously graphic deeds.
My only regret is that in the Berlin scene between Wilson and his sweet-toothed mentor, an unnecessary reference to the parallel “hearts and minds” campaigns of the post-World War II and modern eras was inserted to render an already abundantly topical film more evidently so. The pervasiveness of federal agency grown too lumberingly methodical to maintain its consonance with the civilization it was intended to safeguard should be at the fore of most American’s minds. Catastrophically, the ubiquity of minds unwilling to pierce the veil of bureaucratic docility that guises this film’s dehumanizing core leaves little hope that the moviegoer/citizen can decipher the patronizing platitudes of the modern political idiom.
Thank you, Mr. De Niro, for making us think.
Original Language en
Runtime 2 hr 47 min (167 min), 2 hr 19 min (139 min) (cut) (Russia)
Genre Drama, History, Thriller
Director Robert De Niro
Writer Eric Roth
Actors Matt Damon, Angelina Jolie, Alec Baldwin, Tammy Blanchard
Awards Nominated for 1 Oscar. Another 2 wins & 12 nominations.
Production Company American Zoetrope, Universal Pictures, Morgan Creek Productions, Tribeca Productions
Sound Mix SDDS, Dolby Digital, DTS
Aspect Ratio 2.39 : 1
Camera Panavision Panaflex Platinum, Panavision Primo and Ultra Speed MKII Lenses
Laboratory Technicolor Digital Intermediates, Los Angeles (CA), USA (digital intermediate), Technicolor, Hollywood (CA), USA
Film Length 4,571 m (Sweden), 4,629 m (Portugal, 35 mm), 4,680 m (2007) (Finland)
Negative Format 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383, Vision Premier 2393), D-Cinema