Roger Donaldson has proven a capable Hollywood film craftsman who has enjoyed success with in genres as diverse as the political thriller (e.g., "No Way Out" 1987; "Thirteen Days" 2000) and sci-fi ("Species" 1995). Having spent his youth and formative years in his native Australia, Donaldson headed to New Zealand at age 19 and eventually began a career as a photographer. Gradually moving into filmmaking with documentaries, he first earned notice helming "Winners and Losers", a series of seven short films for New Zealand television. By the time he was in his early thirties, he shifted to fictive work with "Sleeping Dogs" (1977), New Zealand's first produced film in almost fifteen years. Its success prompted the country to form a film commission to promote and solicit additional motion picture and TV projects. Donaldson's exploration of the effects of divorce, "Smash Palace" (1981), earned a berth at the New Directors/New Movies Festival held annually at NYC's Museum of Modern Art and brought him to the attention of American and British producers. He moved up the ladder when he was tapped to helm the revisionist take of the famed mutiny on "The Bounty", a 1984 big-budgeted period drama that teamed Anthony Hopkins and Mel Gibson on screen as Captain Bligh and Fletcher Christian, respectively. While the director's approach was somewhat uneven, his focus on those who rebel against the norm fit thematically into his oeuvre.
Donaldson more overtly explored those ideas with his first US film, "MARIE: A True Story" (1985), with Sissy Spacek as a whistle-blower exposing corruption in the Tennessee parole system. The popular romance-cum-political thriller "No Way Out" (1987) additionally built on the director's interest in those who find themselves fighting "the system", in this case Kevin Costner as a military man who runs up against intrigue and dirty dealings in modern Washington, DC in this update of the 1940s film noir "The Big Clock".
While Donaldson had enjoyed a modest critical and/or box-office success with his earlier work, "Cocktail" (1988), a rather lame and absurd Tom Cruise vehicle about a bartender, rode to large earnings on its star's Pepsodent smile. Unfortunately, having tasted success Donaldson seemingly went into a downward spiral. "Cadillac Man" (1990), a comedy-drama about a cuckold (Tim Robbins) who takes his wife's lover (Robin Williams) and a group of his co-workers hostage. Although on occasion it was visually stylish, "White Sands" (1992) ultimately proved confusing with a convoluted plot involving dirty cops and FBI agents. Donaldson perhaps reached a nadir when he was tapped to steer Alec Baldwin and Kim Basinger through a totally unnecessary remake of "The Getaway" (1994). "Species" (1995), while silly, proved popular and began to reestablish the helmer's reputation.
In 1997, Donaldson had the advantage of being the first out of the gate in a year that saw two movies about erupting volcanoes. His "Dante's Peak" arrived in theaters in February and was a bit more coherent and entertaining than the generically titled "Volcano". "Dante's Peak" again had outsiders battling against those in power, but the director's touch was uneven at best. Returning to the arena of politics and reuniting with star Kevin Costner, Donaldson made what is arguably his best American film to date, "Thirteen Days" (2000). By focusing on the day-to-day affairs of the behind-the-scenes governmental activities during a tense two-week period in October 1961, the director crafted an absorbing and suspenseful drama. He once again tackled politics and duplicity with "The Recruit" (2003), a drama about a rookie CIA agent who comes to suspect his mentor may be a double agent.
Copyright © Baseline 2006.