Written by Michael Vacchiano
Having been a consistent fixture in movies for well over half a century, both in front of and behind the camera, it’s pretty easy to take the work of Clint Eastwood for granted. To be perfectly honest, his latest project as an actor and director, The Mule, does not rank among the best work of his legendary career. But should that deter you from seeing the cinematic icon deliver a film that may fittingly serve as an appropriate swan song? The answer is a resounding “No.”
The Mule is Eastwood’s first foray as an actor/director since 2008’s Gran Torino. However, the man can certainly afford to be choosy after winning four Academy Awards and effectively carving his place in film history. Eastwood plays Earl Stone, a 90-year-old horticulturalist from Peoria, Illinois who has always put his career above his family. After falling on hard times financially, Earl takes a job as a driver bringing packages across the country for some extra cash. Little does he realize until it’s too late that he is working for a Mexican drug cartel—and that the merchandise he’s delivering is highly illegal.
The story of The Mule is loosely based on a New York Times article detailing the real-life exploits of Leo Sharp. A World War II veteran, Sharp ran drugs for the Sinaloa cartel throughout the Midwest for well over a decade. These story elements would have all the makings of an interesting crime thriller, but the film does not go fully down that road. My biggest gripe with The Mule would be that the movie has been incorrectly advertised as such, and anyone who’s seen the trailers or promos would assume the same. Fortunately, I can happily say that the movie is a well-drawn character study. And the talents of Mr. Eastwood are front and center.
Being a horticulturalist, Earl spent the majority of his life traveling to trade shows winning awards and acclaim for his beautifully cultivated flowers. His commitment to work has made him a selfish and neglectful husband and father, and with his business now in dire straits, he’s only recently begun to feel the pain of an estranged family. Earl’s ex-wife (Dianne Wiest) and daughter (Eastwood’s real-life daughter Alison) don’t want him in their lives as they have never forgiven him for his absenteeism. Earl now attempts to “buy” his way back into his family’s good graces by helping to pay for his granddaughter’s (Taissa Farmiga) upcoming wedding.
Eastwood has played this “loner” part many times before but seeing him in the twilight of his career makes his performance just a little bit more special. Never caught up in vanity, every wrinkle and crag on his weathered face is on full display, and it adds to his tough vulnerability, so to speak. Earl is a man clearly regretting the mistakes he’s made in his life, but Eastwood makes him far from a one-note sad sack of an old man. While making his runs across the country, Earl takes time to enjoy the simple pleasures of life. Whether it’s singing along to Dean Martin on the radio or relishing a pulled-pork sandwich and an ice-cold beer, Earl is a guy who truly appreciates every day that he has left on earth. He is a multi-faceted character both flawed and likable, and that definitely plays into Eastwood’s wheelhouse.
Adding even further to Earl’s character dimensions is how he spends his wads of cartel cash. He makes good on his promise to help pay for the wedding reception, and also prevents his local VFW from closing down. Earl also doesn’t hesitate to treat himself, though, by trading in his worn out Ford pick-up truck for a brand new Lincoln. To say he’s sort of a geriatric blend of Robin Hood and Walter White would be a nice summation.
While The Mule has its fair share of emotional moments with the family drama, there are some hilarious ones as well. Earl is a Korean War veteran who is out-of-touch with today’s politically correct 21st century and its modern technology, and some of his encounters with strangers are vintage Eastwood. Whether it’s his interaction with a lesbian biker gang, or learning how to send text messages on his new smartphone, Earl is a dinosaur who is stuck in his ways and has no problem speaking his mind. The movie’s title could reasonably be a double entendre for his cranky stubbornness.
Eastwood’s usual directorial style is clearly present here, mainly keeping a slow and easy pace. The former Dirty Harry is perfectly fine just letting the story flow and idly focusing the camera on the events at hand. However, his affinity for effectively capturing the look and feel of the American road is still finely tuned.
While Eastwood is front and center, the rest of the talented cast is not given much to do. Bradley Cooper leads the ensemble as the DEA agent who is hot on Earl’s trail, but it’s a fairly standard stock character. However, he does get to share a scene in a diner with his American Sniper director that is fairly significant (No spoilers!).
Laurence Fishburne and Michael Pena fill out the rest of the law enforcement side as Cooper’s boss and partner, respectively. The previously mentioned trio of actresses who play the women of Earl’s neglected family are also mostly there just to convey feelings of resentment and ambivalence. They’re also there to hammer home the overall theme of the film: that family is more important than work. And to be frank, it’s packed in a little too much in the film’s third act.
The Mule is not without its faults, but it is still an excellently made film by a true master of his craft. Biased fans of the former Man With No Name will love it, while others may only just like it. Still, do not miss what could be Clint Eastwood’s last appearance on celluloid. Unless you feel lucky…well do ya, punk?
Rating: 8/10
