The Good Shepherd
Directed by Robert DeNiro
Universal Pictures

4 Stars

As a bizarre radiation case involving former KGB agents takes over national headlines, “The Good Shepherd” will be entering theaters; no studio could have orchestrated such a perfect introduction. In the pantheon of movies that have dealt almost exclusively with the CIA, few have delved into the actual creation of the agency, which makes this Robert DeNiro directed film all the more unique and exquisite.

Matt Damon pulls in a stellar, possibly Oscar-bound turn as Edward Wilson, recruited by the United States government to be a behind-the-scenes power-player in World War II and in the post reconstruction of Germany.

Wilson, a graduate of Yale University and a member of the Skull and Bones secret society, leaves his wife Clover (Angelina Jolie) and newborn child for Europe in 1939, only to return six years later after forever damaging their marriage. Over the next two decades, Wilson works covertly to build the infrastructure that will eventually become the operating CIA at the expense of his family, and perhaps his own humanity.

“Shepherd” is more an exploration of Wilson’s commitment to his country, and the toil it wreaks on those closest to him. DeNiro has created a fascinatingly compelling picture that relies upon a fantastic screenplay to further plot. Noted screenwriter Eric Roth (“Munich”) produces a compelling script that gives the film its catalyst. With “Shepherd” he clearly nails both political intrigue and personal deterioration.

Utilizing both flashbacks and a non-linear narrative style, Roth and DeNiro have turned what would normally be an everyday thriller, into a psychological exploration of war and peace. And while the script is top-notch, the acting reinforces the strength of the film.

Damon appears through each scene lacking the physical strength of Jason Bourne, but possessing some nebulous form of patriotism to a country that has stripped him of all he has cared about (that is, if he ever cared about his family to begin with). He witnesses appalling acts of intelligence gathering, but must maintain the façade of personal fortitude.

In a supporting role as Wilson’s trusted assistant Ray, John Turturro (“Mr. Deeds”) displays both comedic timing and frightening composure. In a particularly excruciating torture sequence, Turturro relies upon his voice more than his fists to frighten a cornered KGB (the Russian language equivalent for Committee for State Security) agent. With a supporting cast that also includes Alec Baldwin, Billy Crudup, and DeNiro himself, it is a feat for Turturro to upstage them all.

Unfortunately for Jolie, her role is vastly underwritten. While we see Wilson engaging in various extramarital affairs, it is only alluded that Clover herself was unfaithful during his six years abroad. Jolie does, however, handle her small part with tight-lipped control—a beautiful housewife denied access to her husband.

The strength of this cast is apparent from the get-go, and given the strong script from Roth, this is hands down one of the best films of the year. The end of the film is chillingly cold (appropriate for the then-escalating Cold War), but effective.

DeNiro was perhaps drawn to this story for its parallel to our current political era.

Bottom Line: As the audience watches Wilson give more and more of his life to the acquisition of national intelligence, it behooves us all just to think about what we’re all sacrificing in a “War on Terror.”

—Reviewer Jessica C. Coggins can be reached at jcoggins@fas.harvard.edu.