
The fourth episode of “Martin Scorsese and Leonardo Dicaprio” has turned out to be just about as thrilling and thoughtful as the previous three installments. With Shutter Island, Scorsese has created a psychological thriller that keeps you guessing throughout. This is not the crazy horror of Cape Fear that Paramount marketed to us, but instead, it is a thinking movie that really messes with your mind. The movie gets going right away as the boat arrives at Shutter Island, and the pounding score (a mixture of already-existing songs selected by The Band’s Robbie Robertson) let’s you know that the creepiness begins now.
DiCaprio and Mark Ruffalo are US Marshals, Teddy Daniels and Chuck Aule, respectively, who have been assigned to a hospital for the criminally insane where a murderer has escaped from her locked room without a trace. Right away, Dicaprio realizes that things are not as they seem, and the doctors, nurses, and orderlies are not as helpful as one would expect of hospital employees looking to catch an escaped murderer. We learn that Teddy’s wife, played by Michelle Williams, was murdered two years earlier, and she haunts his nightmares and daydreams throughout his stay at Shutter Island. These images all help put together the mystery that the audience attempts to solve with Teddy Daniels. The rest of this stellar supporting cast is rounded out by Ben Kingsley, Max von Sydow, Emily Mortimer, Patricia Clarkson, and Jackie Earle Haley.
As with any psychological thriller, the movie takes a little time to settle in, but Scorsese is a master at genre, and he knows how to keep the audience thinking. He takes about an hour showing you many of the pieces of the puzzle, and then very slowly and meticulously begins laying the pieces in place. Sure there is a great twist at the end, but the joy comes from watching everything unfold as new characters emerge to confuse the stories of both Teddy and Dr. Cawley (Kingsley). People will tell you that they knew how it would end, but they’re just pompous liars. No one really knew how it would end, although it may have been one of their several guesses. Everything about this movie is meant to disorient you, from the way it is shot to the many unexplained details that Teddy uncovers as he searches for the meaning of the disappearance of Rachel.
The script is wonderfully adapted by Laeta Kalogridis from Denis Lehane’s novel of the same name. This is now the third movie adaptation of Lehane’s novels (Mystic River, Gone Baby Gone), and is equally unsettling as the others. Without giving away the ending, I will tell you that it makes for great ethical questions afterward, as did Lehane’s two other adaptations. Scorsese has accomplished a difficult task in creating a deep, thoughtful movie based on complex novel, something that only a steady hand can do at the helm. Production values are as high as expected from a modern Scorsese project, as veteran cinematographer Robert Richardson (Aviator, Inglorious Basterds) and Scorsese regular editor Thelma Schoonmaker team up again for this thrill ride.
I strongly recommend Shutter Island, and I can’t wait to see it again.