Kelly Reichardt’s The Mastermind: A Heist Film That Isn’t

Kelly Reichardt, known for her indie sensibilities, has a knack for putting characters front and centre, rather than relying on big action set pieces. Her latest, The Mastermind, is a slow-burn comedy-drama that takes the bones of a robbery story and turns it into something far more personal and offbeat. The film’s title is a bit of a joke – there’s no slick criminal genius here, just a bloke muddling through a plan that’s as shaky as his self-confidence.

Set against the backdrop of 1970s America, the film leans into the era’s look and feel, from the music to the fashion, and even the way it’s shot. The time period isn’t just window dressing; it seeps into the story, with the social and political chaos of the day humming in the background. But for James Mooney, played by Josh O’Connor, all that noise barely registers. He’s too wrapped up in his own troubles to notice the world shifting around him.

Plotting the Unlikely

James is the sort of bloke who’s had it pretty easy, but never quite managed to get his act together. His in-laws reckon he’s a lost cause, and even his wife, played by Alana Haim, is running out of patience with his lack of direction. Instead of sorting himself out, James hatches a plan to rob a local art museum, roping in a few mates for the job. The whole thing is played for laughs – the planning is full of holes, and the actual heist is so clumsy it borders on slapstick. The only reason they get away with it is because the museum’s security is even dodgier than their plan.

Once the deed is done, things quickly go pear-shaped. James finds himself on the run, completely out of his depth, trying to keep his head above water in a country that’s as unsettled as he is. The story meanders along with him, following his attempts to find a safe spot while everything around him – and inside him – starts to unravel.

Capturing the Era

Reichardt and cinematographer Christopher Blauvet, who’s worked with her before, have gone all out to nail the vibe of early ’70s America. The film’s look swings from slightly cartoonish to downright bleak, depending on what’s happening. Reichardt’s approach to colour is subtle but effective, setting the mood without drawing too much attention to itself. She’s said herself,

“There is a lot going on. The Weather Underground is kicking it off, the Vietnam War is moving into Cambodia, there is a shooting at Kent State. It’s a volatile time.”

It’s the perfect setting for a story about someone who’s lost his way, with the country itself at a crossroads.

James, meanwhile, is mostly oblivious to the bigger picture. The major events of the day are just background noise to him, much like the important things in his own life that he’s managed to ignore. The film uses this disconnect to quietly take the mickey out of its main character, even as it follows his journey through a world he barely understands.

Characters and Consequences

Josh O’Connor is spot on as James, capturing both his easy charm and his complete lack of self-awareness. Reichardt apparently had him in mind for the role from the start, and it shows. O’Connor brings out the side of James that’s used to getting by on good looks and a bit of luck, as well as the panic that sets in when he realises he’s in way over his head. He’s convincing as a bloke who can talk people into helping him, but also as someone who expects help without ever giving much back.

As James stumbles through different corners of American society, he bumps into all sorts – each representing ways of living and thinking that are foreign to him. These encounters add depth to the story, showing just how out of his element James really is. The final act takes a sharp turn, with James getting swept up in the spirit of the times, whether he likes it or not, and landing in an ending that’s as ironic as it is fitting.