How Penn’s ‘Crossing Guard’ Brought Out Best in Nicholson

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In my perspective, “The Crossing Guard” (1995), a remarkable cinematic piece, served as Sean Penn’s second stint as both writer and director, following his debut in 1991 with “The Indian Runner”. This extraordinary film also signified the beginning of Penn’s creative journey alongside the legendary Jack Nicholson.

The film was praised critically but got overshadowed during the bustling Christmas movie season, which featured popular titles like “Toy Story,” “The American President,” “Goldeneye,” and “Ace Ventura: When Nature Calls.” If you’re a fan of Nicholson, this underrated work is definitely worth checking out.

In a different phrasing, Michael Nicholson portrays Freddy, an individual running a jewelry store but leading a self-damaging nocturnal lifestyle and harboring a quick temper. This complex character is both intriguing and potentially perilous, captivating the audience as much as they may find him displeasing or risky.

One morning, unexpectedly, Freddy, Mary’s (Anjelica Huston) former spouse, turns up at her house, causing a commotion and making everyone uncomfortable. His surprising reason for this sudden visit: Freddy has discovered that the man who had taken their daughter’s life would soon be released from prison, and with a sense of satisfaction, he declares his intention to take revenge on him.

In our encounter, we find ourselves with an individual formerly incarcerated, known as John Booth (portrayed by David Morse). He has a quiet, reserved demeanor when interacting with others. Later on, Freddy pays an unexpected visit to John’s trailer, brandishing a firearm and threatening him, stating that his time is running out.

In my critique, I must admit that Penn’s latest cinematic endeavor, despite its flaws and self-indulgent tendencies, manages to soar above the stumbles due to exceptional performances and emotionally charged sequences. However, the excessive use of slow motion and an overabundance of stripping scenes, ironically for a movie, become a tad tiresome. Moreover, the film’s opening sequence seems misguided.

When Freddy and Mary meet for the first time in years, marking Nicholas Cage’s and Anjelica Huston’s first shared scene in the movie, it sets the story into action. In my opinion, this powerful encounter should have been the film’s opening scene too.

In a powerful display of both fierceness and vulnerability, Nicholson’s performance stands as another remarkable achievement in his acting career. Meanwhile, Huston may have had limited screen time, but he consistently held his own in terms of focus, sincerity, and intensity, mirroring Nicholson’s impact throughout the film.

I appreciated Morse’s candid approach, found Robin Wright’s acting incredibly authentic, and was pleasantly surprised by the appearances of Robbie Robertson and John Savage, who both performed admirably.

One notable advantage is Bruce Springsteen’s “Missing,” a captivating and eloquently penned song, distinct from his previous work, which he composed for the movie. Similarly, Springsteen’s remarkable “Lift Me Up” stands out as another exceptional piece that was created for John Sayles’ critically acclaimed 1999 film “Limbo.

In simpler terms, “The Pledge” (2001), Penn’s last project with Nicholson, is generally more appealing than “The Crossing Guard”, despite its challenging conclusion. In fact, it seems that “The Crossing Guard” served as a prelude to the raw, unyielding darkness that characterized their subsequent and superior work together.

In “The Crossing Guard,” Penn’s optimistic ending might seem appealing or profitable, but I personally struggle to accept the last scene as convincing.

This material requires more attention to detail, less use of secondary characters, and fewer stereotypical depictions of urban life. The strongest scenes capture universal fear and reveal truth through character nuances, while the weaker ones seem like Penn is over-emphasizing and being too explicit in his attempts to emulate John Cassavetes’ distress.

Freddy’s late-night phone call to Mary, as portrayed by Jack Nicholson in a remarkable scene, adds depth to sequences that might otherwise seem weak or underdeveloped. With his impressive track record, having captivated audiences in “A Few Good Men” (1992) and transforming for Mike Nichols in “Wolf” (1994), Nicholson delivers a heartfelt, painfully vulnerable performance that showcases the best of his talent.

Jack Nicholson is widely acclaimed for his captivating performances in films such as “The Shining” (1980) and “The Departed” (2006). However, his stellar acting career extends beyond these iconic roles to include starring in movies like “About Schmidt” (2002), “Ironweed” (1987), “Carnal Knowledge” (1971) and “Chinatown” (1974).

Absolutely, Niccolson’s acting can be flamboyant and theatrical, yet he has the ability to delve into raw authenticity, presenting stark, candid performances that are surprisingly genuine.

His performance in “The Crossing Guard” is up there with his very best.

Among Sean Penn’s directorial works, the standout is undoubtedly his compelling adaptation of “Into the Wild” (2007). This film showcases an attempt to create character-driven, commercially less appealing dramas, reminiscent of Jack Nicholson’s performances in “Five Easy Pieces” (1971). In fact, there is a scene here that echoes his iconic chicken salad scene from the earlier film. While Penn’s efforts are strong enough to recommend, they can sometimes veer between being impactful and missing the mark.

In “The Crossing Guard,” the performances and specific scenes pack a punch that stays with you long after watching. Despite its obscurity, this film featuring Nicholson deserves to be revisited. However, it’s in “The Pledge” where Penn and Nicholson delve deep into the darkness and ultimately shine brightest.

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2025-07-26 18:03