Movie review: Clint Eastwood takes fascinating journey as a drug smuggler in 'The Mule'
"The Mule" - ★ ★ ★
Both tender apologia and vigorous justification, Clint Eastwood's "The Mule" is a deeply, fascinatingly personal meditation from the 88-year-old director who, like his aged drug mule protagonist, has spent a long time on the road.
Eastwood isn't playing himself in "The Mule" -- far from it -- but it's hard not to appreciate, and be moved by, the film's many echoes for the filmmaker, acting for the first time in one of his own since 2008's similarly self-reflective "Gran Torino."
That he finds such intimate dimensions in the story of Leo Sharp is a testament to both Eastwood's knack for pared-down elegy and to the lean script by Nick Schenk that envisions larger American themes within its geriatric drug courier.
Sharp was arrested at age 87 with 104 kilos of cocaine in the back of his pickup while en route to Detroit. Little in the World War II veteran's appearance suggested his secret identity. Sharp, it was discovered, was among the most prolific regional smugglers for the Sinaloa cartel.
"The Mule" takes plenty of liberties with Sharp's story -- Eastwood's smuggler is named Earl Stone, and is a Korean War vet -- just as it has found curious parallels for its star. Some of them are silly. Some are profound. But rarely does "The Mule" -- for better and worse -- not reverberate with Eastwood's own mythology in intriguing, if sometimes painfully awkward ways.
Eastwood's Stone is a celebrated horticulturalist whose specialty is the daylily, a fragile flower that blooms for 24 hours a year. But Stone's lily farm runs into hard times.
Stone has long been estranged from his bitter ex-wife Mary (Dianne Wiest) and his equally furious daughter Iris (Alison Eastwood, the director's daughter), though his granddaughter Ginny (Taissa Farmiga) has kept the faith.
To help pay for Ginny's wedding, Stone follows a tip that leads him to a nondescript auto shop. Cartel members put a bag of drugs in his beat-up Ford pickup, hand him a phone and tell him to respond to any call or text. "Text?" he replies. After reaching his destination, Stone finds a wad of cash in the glove compartment.
Many more trips follow, and the legend of the smuggler known as "Tata" (grandpa) grows, attracting the attention of the cartel kingpin (Andy Garcia). At the same time, a DEA investigation (Bradley Cooper and Michael Pena co-star as agents) is closing in. But they, too, aren't immune to the superficial ways of the modern world, and are pressed to make "a splash" for politicians and press.
A film about an old white guy working for a Mexican cartel called for more curiosity to those around Stone. There isn't a Hispanic character (or woman) in "The Mule" that rises above a stereotype, an irony considering Stone's success is predicated on not looking like a typical smuggler. And one scene actually parodies the anxiety of a Latino man wrongly pulled over by the police.
Yet there's still a potent, classically Eastwood parable here about eking out a bit of freedom in an America that seems to always be tightening the noose.
And as "The Mule" ambles toward its conclusion, it draws closer to Stone, and maybe to Eastwood's legacy, too. Much of the movie measures temporary pleasures with long-term guilt. When Stone makes a reckoning with his ex-wife and daughter (Eastwood's late scenes with Wiest are the film's best), it's hard not to wonder if Eastwood is channeling his own misgivings over a nonstop career. "I thought it was more important to be somebody out there," he says, "than a damned failure in my own home."
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Starring: Clint Eastwood, Bradley Cooper, Michael Pena, Andy Garcia, Dianne Wiest, Alison Eastwood, Taissa Farmiga
Directed by: Clint Eastwood
Other: A Warner Bros. release. Rated R for language, sexual situations, nudity. 116 minutes