Anton Corbijn’s absorbing new thriller The American is based on a novel entitled A Very Private Gentleman which quite aptly sums up its main character Jack (George Clooney). A veteran assassin-for-hire Jack’s life bears none of the trappings that we’ve come to associate with men who kill people for a living. There are no exotic cars or high-tech gadgets no boisterous comrades-in-arms not even a precocious 12-year-old to help pass the time. Exiled to a small town in Italy while he waits for the heat to subside after a job in Sweden gone awry he spends the bulk of his time alone confined to his plain apartment pausing between sets of pushups to peer anxiously out his window where scores of invisible enemies no doubt lurk waiting to strike.
When he does venture out it’s either to pay a visit to Father Benedetto (Paolo Bonacelli) a friendly and inquisitive local priest or to enlist the services of Clara (Violante Placido) an enchanting young prostitute. Jack makes for a reluctant social companion talking little and smiling even less and yet his two acquaintances seem inexorably drawn to him. Jack tries to keep them at a distance — he’s learned from experience that relationships can be hazardous to men in his line of work — but after years of allowing professional considerations to trump emotional ones his resistance is no longer as stout as it once was. Having gotten a taste of love he decides he rather likes it — so much in fact that he tells his boss (Johan Leysen) that he wants out of the death-delivery business for good as soon as he completes his latest assignment: the construction of a highly specialized firearm for a beautiful and mysterious would-be assassin (Thekla Reuten). But exiting such a profession is never a straightforward task especially when there are angry Swedes vying for one’s scalp.
Director Corbijn shuns much of the conventions of modern thrillers in The American employing a style as spartan as his protagonist’s. Though the film contains several references — both overt and implied — to the spaghetti westerns of Sergio Leone it might be said to have more in common with 1992's Unforgiven Clint Eastwood’s acclaimed deconstruction of the well-worn genre. Corbijn prefers long static shots to the quick-cut shaky-cam chaos of the Bourne films and their analogues and his muted aesthetic makes even Italy’s scenic countryside seem a bit drab. There are no high-energy pop songs to be found on the soundtrack only Herbert Gronemeyer’s haunting piano-heavy score which Corbijn employs sparingly. Instead pervasive in The American is a kind of unnerving quiet that effectively underscores the film’s most potent scenes. How frightful a single gunshot can be when bracketed by near-complete silence.
Clooney is characteristically superb as the paranoid tormented Jack a role that calls for a tremendous degree of subtlety if not range. Corbijn tasks him along with co-stars Bonacelli and Placido to carry a determinedly minimalist film that boasts no fancy tricks up its sleeve and they deliver admirably. Audiences who go to see The American expecting a conventional Hollywood spy thriller will no doubt be disappointed to find out they’ve stumbled into an art-house film — and an unrelentingly grim one at that — but those seeking relief from the inanity and bombast of the summer movie season will be pleasantly surprised.
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.