The Mastermind – Film Review
by Frank L

Director – Kelly Reichardt
Writer – Kelly Reichardt
Stars – Josh O’Connor, Sterling Thompson, Alana Haim

The film is set in the early 1970s. We meet James Blaine Mooney (Josh O’Connor), who initially seems like a quiet father of two young boys, enjoying an afternoon with his wife, Terri (Alana Haim).  They are at his local art gallery in Framington, Massachusetts. He is, in fact, casing the joint to see if he can lift some paintings at a future date. It turns out that this level of preparation and foresight is unusual for James. He proceeds with his plan to steal some paintings, but has little or no idea of what to do with them.

James is a non-achiever and is allegedly involved in some architectural endeavour. He is remote from any sense of professional ambition. Although living comfortably, his wife, Terri, is the breadwinner. He is also dependent on his own family for his place in society, as his father, Bill, is a judge. He shamelessly touches his mother, Sarah (Hope Davis), for money to finance his scheme to rob the paintings. He needs the cash to pay two tough guys to carry out the theft. However, things go somewhat awry from the start.  He has no plan as to how to convert the paintings into cash.

Nor has he anticipated that the local mob will not take kindly to a possible lucrative robbery taking place on their turf. James has to go on the run. Reichardt is able, therefore, to view the underbelly of American society. James remains true to form, and his inability to think in advance ensures he moves from one small disaster to the next. He is hapless. He is on the run as the Vietnam War drags on. America is divided by the war, and there are angry protests against it. James gets embroiled in one of these protests by accident, but of course, things continue to deteriorate for him.

One of the joys of the film is Reichardt’s observant eye. The opening in the museum has James’s two young sons as the centre of attention as James carries out some observations of the security. He even carries out a little test to ascertain how alert the security guard is. It is a delight.

Most of the film concentrates on what takes place after the robbery, with a particularly brilliant scene of James hiding the paintings in a lonesome farmhouse. While he does manage to hide the paintings, he also manages to make a right mess of himself in the process. Reichardt creates a scene of immense tension and humour with a demeaning ending of humiliation for James.

Josh O’Connor gives a master class in portraying the ineffectual but privileged James. He is understated throughout and gives an apparent air of competence, only to reveal, when any action is required, his complete lack of it.

Reichardt moves at a measured pace. Her colours are muted. She gives the viewer an insight into those who live on the edge, as James does while on the run. She is a unique observer. This is a film of substance which will reveal more insights, I suspect, on a second viewing.