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FeedMovie Review: The American
Films opening this week:
The American - Dipson Amherst; McKinley Mall Dipson; Elmwood, Transit, Galleria, Hollywood Regals; Flix
Cairo Time - Eastern Hills Dipson
The Extra Man - Eastern Hills Dipson
Going the Distance - Maple Ridge; Market Arcade; McKinley Mall Dipson; Elmwood, Transit, Galleria, Hollywood Regals; Flix - REVIEW
Machete - Maple Ridge; Market Arcade; McKinley Mall Dipson; Elmwood, Transit, Galleria, Hollywood Regals; Flix
I mean no disrespect to cinematographer Martin Ruhe, the master who shot Control, but The American's director Anton Corbijn also deserves credit for this gorgeously composed film. Based upon Martin Booth’s A Very Private Gentleman, Rowan Joffe’s script deals with an assassin in hiding from a Swedish contingent of killers. It’s a thriller revolving around hitmen, but you won’t be seeing wall-to-wall action. Instead, Corbijn's carefully constructed frames of quiet calm surround ever-present paranoia residing in George Clooney’s Jack—who's always aware that anything could be the last thing he notices before a bullet enters the back of his head. We are shown his darting eyes, his raised ears, and his bottomless well of patience amidst the stark white of snow-covered mountains and the vibrant stillness of a hidden river. This film isn’t about his job or his survival. At its core, The American is about one man’s redemption of soul—stumbling upon love, and as a result God, without ever actually looking for either.
As the film opens, Jack is traveling, seeing the world in the small chucks of time allotted between business opportunities, soon arriving in Italy, not for vacation, but for cover. He calls his wintry lover Ingrid (Irina Björklund) a friend and shakes off any guilt for what has happened to her—but he can't forget her.
Seeking solace, he takes up with prostitute Clara (Violante Placido), leaving the brothel if she is absent. He knows exactly why he’s there; their exchange is for him to receive pleasure, not give it. But he does have feelings for her—he’s grown soft and cracks are beginning to show. There now appears to be a second-guessing underlying every action, including his befriending the priest Father Benedetto (Paolo Bonacelli), someone with his own hidden secrets.
Over the almost two-hour duration of the film, we follow a deeply troubled man whose life has been built upon a foundation of death and destruction. Little things, slowly chip away at his steely demeanor, bringing an idea of humanity back into the character. What stops him from starting a new life is one last job brought by Pavel (Johan Leysen) as Jack is in hiding from the Swedes. The details of the hit may be vague, but it’s never questioned. All that’s left to do is exchange the gun for cash with the cold-blooded beauty Mathilde (Thekla Reuten).
Jack’s surprise catharsis is front and center, therefore making it Clooney’s task to sell the subtle conflict, the tug-of-war within. You never doubt his extreme precision in a field crowded with infinite amounts of enemies; at the same time his capacity for compassion is clearly evident. Ultimately, Jack begins to break all his rules, mixing business with pleasure and no longer being able to quite see the distinction. But through it all, he remains vigilant and cautious, never sure who to trust. Corbijn portrays that feeling of isolation with sparse locales and deliberate pacing, leading to the ultimate rush of suspense. The American is lyrical in its orchestration, always more mood than action—a welcome reprieve from the blood-soaked tales of assassins usually seen onscreen.
The American 8/10
photography:
[1] George Clooney stars in the title role of director Anton Corbijn's suspense thriller THE AMERICAN, a Focus Features release. Photo: Giles Keyte.
[2] Violante Placido (left) and George Clooney (right) star in director Anton Corbijn's suspense thriller THE AMERICAN, a Focus Features release. Photo: Giles Keyte.
