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I can’t escape the feeling of this film. Now I’m older than Jimi Hendrix, James Dean, Marilyn Monroe, and Malcolm X. I have reached the stage where the limitless wonders of my childhood room have been replaced with an intricate web of needs, concerns, wants, and many more. The fusion of wind and katydids in the summer creates the perfect song which most of us dream about. The rattling taps of rain on our roof has now been replaced by the plastic clashing of this gaming keyboard alongside other mechanical monsters. Everything is under an endless veil of noise. I sometimes find myself falling into that idealized telescope view of the past today, which is quite effortless to slip back into but rather strenuous to climb out of. In Sean Penn’s ‘The Pledge’ Jack Nicholson’s character too is observing the world shift around him. More than this, he is witnessing the life that he once had slowly disappearing.
We start with Nicholson, even more stooped and gnarled in the drab air. He speaks through dry mouths to the somewhat absent nothingness that lightly surrounds him while he squelches his way beneath the thin underlying drumming, humming and scattered twittering of birds. Heck, he is completing his final weeks as a policeman. All his decades long career is now just a neat pile of badges, certificates and diminising memories packed into a small cardboard box. Younger officers are rooted in obeying procedures and policies, while he is picking off bits of experienced attempts. This is, on one level, the story of a man at the twilight of his career. On another, this is the story of a man on the verge of a disaster, but not because of his age.
In a snowy winter scene, an innocent young girl dressed in red is murdered in cold blood. The police are sure they have the murderer: a quiet Benicio Del Toro, and Aaron Eckhart, with his mid style hair, now avoids recognition. Aaron is now the new, cooler, younger officer compelling the snorting, tubular inarticulate killer to send him, shut case.
Judging by the confession and what Del Toro has said, Del Toro’s lawyer Nicholson believes that Del Toro has no clue what he is talking about or doing, Which brings me to the fact that the murderer is still loose. Out of promise I made to the girl’s parents in, I believe it was a group meeting in a very picturesque turkey farm, I will solve this case. He goes about his own low profile investigation, conducting his own interviews, gathering evidence as you would expect him to. As he presents the evidence, which include a little girl’s painting of a man, a porcupine, and a black station wagon, the officers on the meeting room try to bite back their silence by offering one another glances that reflect their disbelief. Like I said, this modus operandi works, and Nicholson persuasively moves closer and closer to the murderer, and in this stage we all start with if there even is a killer in the picture.
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