Angelina Jolie’s vivid 1920s-style vermillion lipstick never musses even though her chin quivers with maternal strength and her eyes pool with diamond tears in Clint Eastwood’s The Exchange. Based on a real case, Jolie plays a Los Angeles telephone operator whose son goes missing, and who is subjected to bureaucratic (and even psychiatric) torment when she refuses to to accept the boy the cops return to her five months later as her child. In a ballsy attempt on the part of the era’s notoriously corrupt LAPD to generate some good PR, cops had hoped to pass off a substitute kid as proof of a case well solved. Not with AJ, you don’t.
Well, the star looks flawless all right, absorbing all light whenever she’s in a scene and retaining the mother-ambassador-madonna-model role she perfected in A Mighty Heart. And sometimes, truth to tell, that posture can be distancing, you know? But then I ran — ran, as the international gaggle of critics does here in hysterically paced Cannes, as if our identities depended on it — to Delta, a much-anticipated Hungarian film also in competition. This one’s about a nearly mute, possibly saintly, or possibly just simpleton young woman who sets up incestuous house with her equally nearly mute, possibly saintly, or possibly just simpleton half-brother on a remote outpost of a reedy Hungarian waterway. The two stare at the sky, or at a turtle, or at a chunk of bread, until brutish, outraged, drunken locals put an end to the two of them. The end.
Let me tell you, I will be happy never to see another foreign-language silent saintly-simpleton heroine gaze at cloud formations for, oh, at least the next six months. Angelina Jolie has never looked so inspiring.
So when did the Clint Eastwood/Angelina Jolie movie stopped being called “The Changeling” and start being called “The Exchange” In a post from a little less than an hour ago, it was referred to as “The Changeling.” I’m just wondering. I’ll stop stalking Popwatch and try to get some work done now.
Adding to your confusion–and mine: The press production notes say “The Exchange,” and the press screening schedule and program catalog says “Changeling,” So best two out of three goes to “Changeling.” Or, if you prefer the official Cannes title, “L’Echange.” Then again, in France the director is universally called Cleeeeeent.
Ok, I say we just go with “The Changeling Exchange” and call it a day.
Well, I for one will see it no matter what it’s called. I’m really hoping that Clint stays on a roll with his films. I think he is brilliant and am really looking forward to see what he gets out of Miss Jolie.
Lisa, I have a problem with the tone of your article. I like you & Owen in general, and subscribe to EW. Your decidedly mock/ironic/snarky lukewarm-at-best ‘review’ is in stark contrast to the universal acclaim I’ve read so far: Variety’s Todd McCarthy, Emmanuel Levy, Screen Daily & more. Jeff Wells quotes a British journalist as saying Clint would win next Sunday.
Is it Cannes fatigue, or are you on Team Aniston?
AFP reports that the media was handed a notice by Universal about the name change to The Exchange just before for the press conference. Universal didn’t give Clint & Angelina the same courtesy – they knew nothing about the name change.
To be fair, Ligaya, Lisa praised ‘The Exchange/Changeling’ and its star, but said the latter’s star power and energy could keep people from identifying with her (if I read you right, Lisa). Then she said she’d take Clint & Angelina over the Hungarian saints/half-wits any day. So where’s the negative? And even if she is negative, why can’t she express a different opinion from Levy, Variety, et al? Isn’t that what having different movie critics with different backgrounds and opinions is for?
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