In his later works, Clint Eastwood had been focusing on unlikely heroes and tracing an almost memorial in a way that the American sold himself into the world. That figure that in the most improbable moments will save the motherland and will prove a great name for history, even if it presents its problems. "Sully" (2016) is somehow that way. Similarly, "15:17: train to Paris" (2018). And even the "American Sniper" (2014) appealed to this narrative.
By chance or not, these are among some of their weaker jobs. Obvious narratives, few conflicts and even the absence of a story that really deserved a movie to tell it. "Sully" had content for at most one short film.
"The Mule", however, is a return of Clint to his good times. The real story of a nonagenarian gentleman who has seen a mule from the Sinaloa traffic in Mexico, carrying drugs unnoticed on the American roads is a full plate for Eastwood's work not only as a director but also as an actor.
Earl Stone is that anti-hero who usually does good movies. Terrible father, poor husband, poor grandmother, Earl devoted his whole life to flowers. Without realizing it, however, he failed to pay attention to the three women in his life and he lost one by one. The daughter, the wife, and almost the granddaughter, who turns out to be the chance of redemption for him when he realizes that he dedicated his whole life to the work driving the country roads, but never gave the family the deserved attention.
It is precisely when he sees his life and his business crumble by the arrival of the Internet that Earl ends up falling into the hands of the traffic. The aim of the cartel is to make mules circulate around the United States carrying drugs without stopping by police officers. It's Earl's an exemplary talent. In all his life, he never took a ticket.
As he begins his journey through the underworld of crime, Earl also relishes a little of the life he has left so far behind. As he earns money, he recovers some of his lost history through a series of factors: the house from which he was dumped, the Korean War veterans' club, his family's important dates, even though he suffers a lot of resistance.
Earl just wants to recover the time. Just what he can never have or buy, for he is at the end of his life.
It's almost impossible to cheer against Earl, even though we know he's doing something wrong. Clint Eastwood builds an aura of sympathy for that frail gentleman who ventures the roads while seeking a meaning for life, but more than that, redemption. Earl wants his family back, something that hurts him deeply, to the point of rightly advising his executioner, Colin Bates (Bradley Cooper) to remember that special dates, birthdays and family are important.
"The Mule" may not be Eastwood's most brilliant film, but it's a work that deserves to be appreciated for the journey your character has made. It does not bring great reflections, but it is possible to find beauty in Earl's quest for redemption.
By chance or not, these are among some of their weaker jobs. Obvious narratives, few conflicts and even the absence of a story that really deserved a movie to tell it. "Sully" had content for at most one short film.
"The Mule", however, is a return of Clint to his good times. The real story of a nonagenarian gentleman who has seen a mule from the Sinaloa traffic in Mexico, carrying drugs unnoticed on the American roads is a full plate for Eastwood's work not only as a director but also as an actor.
Earl Stone is that anti-hero who usually does good movies. Terrible father, poor husband, poor grandmother, Earl devoted his whole life to flowers. Without realizing it, however, he failed to pay attention to the three women in his life and he lost one by one. The daughter, the wife, and almost the granddaughter, who turns out to be the chance of redemption for him when he realizes that he dedicated his whole life to the work driving the country roads, but never gave the family the deserved attention.
It is precisely when he sees his life and his business crumble by the arrival of the Internet that Earl ends up falling into the hands of the traffic. The aim of the cartel is to make mules circulate around the United States carrying drugs without stopping by police officers. It's Earl's an exemplary talent. In all his life, he never took a ticket.
As he begins his journey through the underworld of crime, Earl also relishes a little of the life he has left so far behind. As he earns money, he recovers some of his lost history through a series of factors: the house from which he was dumped, the Korean War veterans' club, his family's important dates, even though he suffers a lot of resistance.
Earl just wants to recover the time. Just what he can never have or buy, for he is at the end of his life.
It's almost impossible to cheer against Earl, even though we know he's doing something wrong. Clint Eastwood builds an aura of sympathy for that frail gentleman who ventures the roads while seeking a meaning for life, but more than that, redemption. Earl wants his family back, something that hurts him deeply, to the point of rightly advising his executioner, Colin Bates (Bradley Cooper) to remember that special dates, birthdays and family are important.
"The Mule" may not be Eastwood's most brilliant film, but it's a work that deserves to be appreciated for the journey your character has made. It does not bring great reflections, but it is possible to find beauty in Earl's quest for redemption.