Less raunchy than his Velvet Goldmine, less
daring than his Bob Dylan phantasmagoria I’m Not There and, with its
naturalistic dark colours, significantly less visually sumptuous than his
1950s-set outings (Far From Heaven and Carol), it features a
finely restrained lead performance from sometime-Avenger Mark Ruffalo, who also
helped produce.
Intriguingly, this is the second film featuring
Ruffalo that deals with the staggeringly rich and rotten DuPont family (after Foxcatcher),
but that’s not surprising given how they permeated so many facets of modern
American life.
In 1998 Cincinnati corporate lawyer Robert Bilott
(Mark) is approached by angry farmer Wilbur Tennant (Bill Camp) during a
meeting, as Robert’s boss Tom Terp (Tim Robbins) looks on disapprovingly. It
seems that Wilbur knew Mark’s grandma back home in West Virginia, and through
this connection Wilbur hopes that Robert will help him sue the DuPont
corporation for the deaths of his livestock.
Robert is actually a defense lawyer but visits
Wilbur’s farm out of respect, and there finds sick cattle and, as his investigations
then continue, poisoned soil, polluted water and all manner of ill locals, and
he at length convinces Tom to allow him to work at holding DuPont and their
handsomely-paid-off cronies accountable. Many years pass and, as his family
grows, Rob’s relationship with his wife Sarah (Anne Hathaway) frequently becomes
strained and he, of course, becomes unhealthily obsessed, imagining dark
figures watching him from the shadows in a pseudo-horror-movie moment.
Haynes’ supporting cast are splendid, of course, with
Bill Pullman briefly as a showboating lawyer, William Jackson Harper (late of
TV’s The Good Place) shining in a few scenes, Robbins (always up for a
movie about causes) quite excellent when he properly loses his temper, and
Hathaway strong, despite the fact she spends much of the action either angry at
Rob or wailing over him in hospital.
But it’s Ruffalo who holds everything together, and
after his many turns as the Bruce Banner/The Hulk you could be forgiven for
forgetting what a gifted actor he truly is. Without him Haynes’ film would have
less heart, less rage and far less point.
And, like so many US movies of late, this has a powerfully political aspect, which is why Haynes became involved. However, it isn’t just a post-Trump pic or a slightly soapboxing leftie outing like Erin Brockovich: oh no, it’s intended as nothing less than a study of the corruption of America.
Dark Waters (M) is in cinemas now
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