Greetings again from the darkness. Let’s start with this disclosure: the original Danish film from Gustav Moller was one of my top 5 favorite films of 2018. Even then, I fully expected an Americanized version to happen at some point. The surprise is having director Antoine Fuqua (TRAINING DAY, 2001) handle the remake. He’s known more for bombast and action, than the nuanced suspense delivered by the original. To offset this, Mr. Fuqua wisely chose the dependable Jake Gyllenhaal as his lead, and the talented Nic Pizzolatto (creator and lead writer of HBO’s “True Detective”) to adapt the screenplay.
Gyllenhaal never cheats the audience, and he dives into the role with his typical full force commitment. Except for a few blurry visuals of cars on the highway and the dramatic opening shots of the raging California fires, Gyllenhaal’s Joe Baylor is on screen for the entire run. He’s a detective on desk duty at the 911 call center pending his court case on charges that only become clear towards the end. Joe is also separated from his wife and daughter; a crucial element in how his shift plays out in front of us.
As we listen in on his first few calls, it becomes obvious how Joe’s time on the streets have fine-tuned his quick-to-judge persona. He’s not shy about telling callers their own choices are responsible for their current predicament. Just as he’s about to dismiss his latest caller Emily, his instincts kick in, and he discerns that she’s been abducted by her husband in a white van, and fears for her safety. This initial call between Joe and Emily is a work of art, and kicks off the nearly unbearable tension for the rest of the movie and Joe’s shift.
Fuqua and Pizzolatto infuse commentary unique to modern day America. The fires are always in the background impacting emergency resources, as well as the air being breathed. Police collusion and abuse of power are also an underlying aspect of what unfolds in front of us. Yet somehow, the film (perhaps accidentally) speaks to the immense pressure faced by law enforcement and how instincts and quick judgments are crucial to assistance and survival. Joe bounces from calm demeanor to explosive overreaction in the blink of an eye – or the beep of an incoming call. We witness how preconceived notions can lead one astray, even if they’ve worked in the past.
In addition to Gyllenhaal’s commendable performance, the film includes terrific voice work (via phone) from such actors as Riley Keough (as Emily), Peter Sarsgaard, Ethan Hawke, Da’Vine Joy Randolph, Christiana Montoya, and Paul Dano. Adrian Martinez and Christina Vidal appear alongside Gyllenhaal in the call center, although the single setting contributes to this being mostly a one-man show.
We understand that Joe Baylor is seeking personal redemption in his all-out pursuit to save Emily, and one line in the film speaks directly to this: “Broken people save broken people.” If you haven’t seen the original, you are likely to get caught up in the tension, and ask yourself many of the same questions Joe is asking himself at the end. Gyllenhaal previously teamed with director Fuqua in SOUTHPAW (2015), but this crime thriller is something different for both. If you are up to the challenge, watch this version and the original, so that you can compare the contrasting approaches.
Streaming on Netflix beginning October 1, 2021
Is this not a sure bet that I’d watch this movie? Okay, that was a rhetorical question and I know you know that David. What I did not expect was that I’d want to also watch Moller’s original ‘The Guilty’; I do indeed. I’ve enjoyed several, just shy of many, Swedish movies and series which I also later watched the Americanized versions. I shall endeavour to do this in the same order, and I trust this to be the better way. Thank you for another awesome review my friend.
Ray, I believe you will appreciate the contrasting styles, as both generate tension. Looking forward to your thoughts
I did appreciate the differences and the storyline. This was my favourite Jake Gyllenhaal performance. What I didn’t expect was that I’d be moved by the voice of young Christiana Montoya as much as I was, and then by Riley Keough as Emily the mother. Antoine Fuqua did a splendid job, as did Gustav Möller. I thought the Sweedish version was less demonstrative but more reflective, which I attribute to the cultural differences. The story can be molded that way by good directing; it just worked.
Agreed. And it plays to our natural predisposition regarding certain people and situations. Good stuff.