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The Sterling Shepherd is a very very edifying film that I would be reluctant to recommend to many because despite it having a fictionalized history of the genesis of the CIA as its setting, and its icy glimpse at right spycraft, it is really a very serene and cerebral character ogle of the sacrifices one man makes for the sake of his country, and the toll taken not only upon himself but also those around him by the life of duplicity, distrust, compromise and right betrayal that this engenders. I don’t know how a 2-1/2 hour movie with so button-downed and taciturn a central character as Matt Damon’s Edward Wilson will play in multiplex land, but I give all due credit to Damon for embodying this tightly-wrapped, unexcited man and Robert DeNiro as director for having the courage to center his film on such a wintry and enigmatic protagonist.
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Using the 1961 Cuban Bay of Pigs worry as a framing procedure, we flashback to 1939 Yale and we view Damon’s Edward Wilson as a young Eli soon to be inducted into Skull and Bones where he will join the American WASP elite. I’m gratified DeNiro spends a bit of time here as we search for Wilson as a luminous and sensitive young man, seemingly with both heart and humor, with a potential to go in many directions in his life. A telling secret of his life is revealed in his Skull & Bones initiation, and soon, for several reasons, he is singled out for the World War II OSS clandestine service and sent to London, England. But not before impregnating the sister of one of his elite brethern and duly marrying her on the eve of his departure. This marriage will be costly to Edward immediately and eventually to his wife and son as the years progress.
Wartime London intrigue ensues and later postwar Berlin and the beginning of the Frosty War. We notice as Edward not only learns his craft, but we peruse how he begins to shelve his emotions, tighten his grip on himself and don an impenetrable hide of peaceful stoicism. Edward Wilson is becoming “serious and humorless” and as he shuts-down only glimpses of the younger man appear. Through these scenes we also meet several key characters in the espionage game that will play principal parts throughout the narrative, not the least being the man who will be Edward’s opposite number in the KGB, code named Ulysses. The KGB man tells Edward he is code-named “Mother” and that his propensity for silence is famed and respected. Both men realize their opposite will be formidable and that this will be a very serious and deadly game they are about to play.
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Edward returns home post-war to a marriage with a stranger, a son he doesn’t represent well to and has tiny time for, and to the deadly games of the Frosty War, dueling with the KGB in proxy wars around the world while coping with moles and betrayal and the internecine wars of bureaucracy. It all comes elephantine circle in ways tragic and dismal.
Matt Damon had an unbelievable challenge playing a man so closed that almost no one knows him. Apparently a composite of several early CIA founders, most notably the shining, mole-obsessed James Jesus Angleton, this character is a man that expects betrayal, can trust no one around him and ultimately cannot trust himself in the manufacture of his acquire emotions. Damon somehow conveys the man’s inner distress without breaking his stern outer determine. And yet we study flashes, glimpses of the man’s regrets, of his lost capacity to savor and give of himself.
There are coincidences and some doubtful scenes and situations that Edward particpates in or witnesses that seem a bit contrived but are essential to broaden the scope of the film, and it is a truncated history by necessity. I can’t dispute to whether some of the methods and tactics as shown, in particular one interrogation scene, are good for the period, and the assertion by a defector that the Soviet Union is bankrupt and hollow rings groundless for 1961, but overall the mood and tone of the part seems moral. The nonchalance of the privileged elite in assuming leadership roles and the WASP heritage of the OSS and its offspring is presented well and no doubt persists into our world if you mediate of the Skull & Bones contest of the 2004 Presidential election.
At any rate, I applaud DeNiro and company for taking on such non-General audience material. This is John Le Carre territory, and has mighty more in well-liked with the Alec Guinness versions of his watch stories as seen in the TV productions of “Tinker, Tailor, Soldier, Gaze” and “Smiley’s People”, with an equally inscrutable central character, than Bourne or Bond or whatever. This is espionage carried out by a polyglot confusion of often damaged people: patriots, true-believers, careerists, liars, cheats, thieves, sadists and worse–the callous, greedy and detestable. As one of them says spies are ultimately “romantics” and romantics are ever doomed to disappointment and failure. The DeNiro character (based on Wild Bill Donovan, founder and narrative of OSS) says “in the destroy we’re all clerks” or “bootmakers for the King” as another says.
Watching the idealism of Damon’s Edward Wilson harden into the ruthless pragmatism of the cold and calculating ultimate bureaucrat was a chilling and worthwhile experience for me. It is a hard, often cruel world we live in, and the world these people inhabit is very hard indeed, and we cannot inquire the people we ask to live there not to be somehow affected. Edward’s final compromise with himself and his ideals is that he can do no compromise with who he is and what he does. They are now one and the same. Ideals have been replaced by sheer, rigorous efficiency, and conscience by lies within lies and secrets within secrets
The cast supporting Damon (Wound, Turturro, Baldwin, Crudup, Jolie, Gambon et al) is glorious. The production likewise. In an interview DeNiro said that he hopes to continue this fable with at least one more film. I hope this one is successful enough that he gets the chance to do so, as I would like to glance this anecdote taken forward all the design up to our times. I remember when films like The Look Who Came In From the Frigid or All the President’s Men could be hits. I hope this film can rep its audience as well, for it is a attractive anxiety.
Though not for all tastes, “The Obedient Shepherd” (2006) is an captivating search for drama in the John le Carré tradition. Director Robert De Niro gets the most out of his well-cast ensemble, with Matt Damon remarkably effective as the emotionally wintry CIA operative and co-founder. Running nearly three hours, the film’s behind meander works in its favor - chronicling the CIA’s evolution from 1939 to the Bay of Pigs fiasco in 1961. Hopefully, De Niro will continue to gape this tantalizing saga in his next directorial project.
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Craig Mcgowan