★★★½
“The Equalizer”
Either by intent or accidentally – and we’ll get to that in a moment – this manages to be both an indictment of and an advert for, American gun culture. That’s quite a spectacular achievement, and it’s perhaps no coincidence that the writer/director is British, so brings an outsider’s balanced eye to a topic that’s often acrimonious in the States. Kathleen Sullivan (Young) is a teacher who has just moved from Boston to a small Texas town. She falls for local attorney Larry Keeler (Day), though is only interested in friendship, not a significant relationship. The initially-charming Larry eventually won’t take no for an answer, and date-rapes Kathleen. However, the circumstances and her attacker’s local reputation mean she gets no satisfaction from the police. The meek and mild Kathleen decides to take matters into her own hands, buying a gun and taking up combat shooting – at the very same club Larry frequents – with the aim of meting out her own brand of justice.
Director Garnett is a fairly outspoken Socialist, most well-known in film circles for his work with Ken Loach, and those left-wing beliefs appear to have informed his approach here. For example, he said in regard to this film, “America is built on genocide, has a macho culture and confuses owning guns with individual freedoms.” It doesn’t exactly make him a candidate for a film pointing out the positive elements of gun ownership. But it’s absolutely no stretch to read this as a Janie’s Got a Gun-style tale of empowerment through firearms. Yes, Larry uses his gun to coerce Kathleen into sex. However, we then see her use her gun to punish him when society fails to do so. There’s no doubt that weapons and the skills to use them are part of her transformative process, and the Kathleen we see at the end is a much stronger woman than the one to whom we are introduced. Guns, it appears Garnett is saying, are just a tool which can be used for good or evil – like any other. It’s when they become fetishized to a dangerous degree, problems like Larry arise.
This does lead to the film seeming rather ambivalent, though it’s hard to tell how much of this is due to studio interference. Garnett sold the film to the mainstream Warner Bros, and says, “I had to cut elements from the film that I now regret.” While slow-paced at times, it benefits from a good performance by Young, who is pretty without being perfect (the gap in her front teeth is a seriously eighties throwback), and can also sell the transformation believably into an angel of vengeance. Yet there’s one final twist at the end, with Kathleen stopping short of becoming what she despises, and it confirms this movie’s position as easily one of the more thoughtful films in the rape-revenge genre. You may or may not necessarily agree with what Garrett has to say, yet it’s hard to say he does a poor job of making his argument.
Dir: Tony Garnett
Star: Karen Young, Clayton Day, Suzie Humphreys, Helena Humann
a.k.a. Deep in the Heart