The Tourist is about as difficult to get through as spotting the vowels in the name of its director. Florian Henckel von Donnersmark was last seen receiving a Best Foreign Film Oscar in 2007 for The Lives of Others which was about a couple living in East Berlin who were being monitored by the police of the German Democratic Republic. Its positive reception made way for the assumption that Donnersmark would continue to populate the USA with films of seemingly otherworldly and underrepresented themes. But his current project is saddening in its superficiality and total implausibility.
The film’s only real upside is its stars: two of our most prized Americans. Johnny Depp plays Frank Tupelo a math teacher from Wisconsin who travels to Europe after his wife leaves him presumably because of his weakness and simplicity. While en route to Venice he meets Elise Clifton-Ward (Angelina Jolie) who situates herself in his company after she receives a letter from her criminal lover Alexander Pearce (who stole some billions from a very wealthy Russian and the British government) with instructions to find someone on a train who looks like him and make the police believe that he is the real Alexander Pearce to throw the authorities and the Russians off his track. Elise picks Frank and after they are photographed kissing each other on the balcony of Elise’s hotel everyone begins to believe Frank is the real Pearce and so begins the chase.
While Donnersmark could not have picked two better looking people to film roaming around Venice his lack of faith in the audience is obvious. Every aspect of the characters is hammed up again and again as if Donnersmark felt burdened with the task of making us see his vision. Doubtful that we’re capable of getting to where he wants us he has crafted a movie completely devoid of subtlety. Elise’s strength and superiority over Frank are portrayed by close-ups and repeated instances of men burping up their lungs upon seeing her (as if her beauty is in any way subjective?). And in case we forgot that Frank is the victim in this story -- even though he’s been tricked chased and shot at - Donnersmark still felt the need to pin him with a lame electronic cigarette to puff on. Frank and Elise somehow manage to lack mystery even though we get very few factual details about each of them.
Nothing extraordinary comes to us in the way of the film’s structural elements either. There is very little of the action that The Tourist’s marketing led us to believe and the dialog is often painful. The plot itself is almost shockingly unbelievable especially when we’re asked to believe that Elise falls in love with Frank after a combination of kissing him once and her disclosed habit of swooning over men she only spent an hour with (yes that was on her CV).
The Tourist is rather empty and cosmetic. It’s worth seeing if you’re a superfan of Jolie or Depp but don’t expect to walk out of the theater with anything more than the stub you came in with.
A dead body with a smashed-in face and cut-off hands is uncovered at a Montreal construction site. The local authorities are all over it but police inspector Hugo Leclair (Tcheky Karyo) thinks it might be bigger than just a random murder and decides to bring in his good friend Special Agent Illeana Scott (Angelina Jolie) an FBI profiler who relies on her intuition rather than conventional crime-solving techniques. She proves it by immediately lying in the victim's grave to get a "sense" of what happened to him. (Wow we've never seen that before.) The Montreal detectives on the case Paquette (Olivier Martinez) and Duval (Jean-Hugues Anglade) are skeptical of her ways especially Paquette who thinks she's just plain nuts (we're with ya Paquette) and resents her involvement. The investigative team catches a lucky break when witness James Costa (Ethan Hawke) pops up claiming he stumbled upon the killer mid-murder (but not in time to save the victim) and can identify him. With Costa's help Illeana gets a clearer picture of her "profile " discovering he is a chameleon-like serial killer who "life-jacks" his victims assuming their lives and identities. At first she's hot on his tracks but the usually detached Illeana is thrown for a loop when an unexpected attraction develops between her and James. She suddenly feels like she is losing her touch; and surrounded by what could be a bevy of potential suspects things get chillingly personal.
Jolie has done this before sort of in the 1999 The Bone Collector in which she played a homicide detective who works with a quadriplegic partner to catch a serial killer so inhabiting Agent Scott is not new territory for her. Neither is acting in the steamy love scene she gets to share with Hawke which as we all know is something Jolie can do well. What is surprising for a movie of this type however is the fact the uptight emotionless FBI profiler actually gets to have sex which brings out Scott's more human qualities. The ultra-smooth Hawke whom we haven't seen since his Oscar-nominated turn in the 2001 Training Day also does some intriguing things with his character who may or may not be the bad guy (see below). The rest of the cast however falls into conventional psycho thriller compartments--the good cop (Anglade) the bad cop (Martinez) the concerned confidante (Karyo) and the person who provides key information about the serial killer's background (his mother played by Gena Rowlands)--without shedding anything new on the proceedings.
If you've seen one big-budget psychological serial killer movie you've seen them all. You know that the one guy they want you to think is the killer really isn't. You know that the other more unlikely guy probably is. You know somehow the hero--a smart cop FBI agent etc.--will eventually find his or her life in mortal danger. And finally you know the killer rarely dies on the first attempt; he always comes back. What you hope is that at some point the filmmaker will throw a wrench in the works. Something you couldn't predict even if given all the clues. Taking Lives director D.J. Caruso tries his best to do this. Through his camerawork he sets up Illeana's hyper-sensitive skills of observation as she notices everything around her only to see those skills fail on her later--and aided by composer Phillip Glass' haunting musical score the film reaches the predictable high points fulfilling its thriller quota. Montreal also provides a change of pace from the usual grimy Big Apple or other such gritty American locales prominently feature in such films. But what keeps Taking Lives in the running is its curveball at the end. If you don't mind wading through the rest of the movie's obviousness the wait is worth it.