Clooney’s The American can never rest

The American – 2010

Directed by Anton Corbijn

Starring George Clooney, Violante Placido, Thekla Rueten, Paolo Bonacelli, Irina Bjorklund, Johan Leysen

Screenplay by Rowan Joffe

Hit man movies have only so far to go.  You are usually making the hit, and then becoming the target.  There are other options, where one becomes entangled along the way, compromising the “mission” and the lives of everyone on-screen.  That The American starts off beyond this point is of little consequence, then.  Everything is cyclical, so you know he’ll be back again.

The hit man in question is known as, at various times, Jack, Edward and Mr. Butterfly (Clooney).  Forced at the start of the film into making a choice that, on its face, has to be emotionally crippling, soldiers on, and picks up his next assignment.  He display’s a wariness at this point that makes the rest of the film somewhat of a labor: if you don’t trust the people you are working for, why pick up another job?

Jack makes a compromise, changing some of the limits of his instructions, going his own way, so to speak, and then begins his work.  His every move to this point has been measured, his eyes constantly darting across the landscape, assessing every room that he enters.  His tension is palpable.

There is a sequence after Jack takes the request of his client where he begins the work of constructing a gun.  This is the point where the tension lifts, and you can see more than a locked jaw on his countenance.  The act is a ritual for him.  It is his saving

Testing the weapon, meticulously

grace, and, ironically the means to end someone else’s life.  Nothing breaks his concentration at this point, and, interestingly, the viewer feels they can take their first full breath while watching him here.

At nights, he takes in the services of a specific prostitute, Clara (Placido).  He likes her, and begins to see her on a regular basis.  She knows him as Edward.  As does the local Priest, Father Benedetto (Bonacelli), who takes an interest in him, and subtly tries to waken him to the possibility of salvation.  Through the Priest, Edward / Jack, arranges a meeting with a local mechanic of questionable repute.

From the mechanic, he procures parts to finish making his weapon.  The Priest asks him about the parts he got from his mechanic friend, and Edward / Jack, who poses as a photographer, but does a poor job disguising the fact that he is anything but, presents the Priest with the understanding that he and the mechanic share the same eyes.  This does not lessen the priest’s conviction, and you can feel Edward start to sway as he begins to understand.

Things get tight at the bend in the river.

Things between Edward and Clara begin to deepen, but for Jack / Edward, who can still feel the sting from his last engagement, needs to know that she is not compromised.  After a run in with another assassin, he finds a gun in her purse, and then takes her on a picnic.  Ultimately, he begins to think her intentions pure and her heart worth having.  Now, for that last job.

Things go from here about as one would expect.  If you expect nothing, I will not ruin it for you.

Clooney’s performance here is filled with regret and nuance.  On the one hand, he is ultimately guarded, and on the other, he is an open book, depending on who is reading.  There is no fun to be had in this movie.  I guess that could be expected in the life of a secret agent, but the fight scenes (including a chase scene involving a scooter and a compact car) are not in league with Bourne.

The shot is taken, the die already cast

 

There are some good scenes in the labyrinthine old Italian cities.  One could almost imagine a gun with a silencer attached in every curve and wind of each street.  These scenes are shot well, and give a real sense of dread.  Problem is, by the end of the movie, it’s been done so many times, it loses it’s effect.

The whole movie plays like a piano chord stretched to the limit and struck, repeatedly and in a muffled tone.  There is only so much one can take before the tension becomes exhaustive.  You know there can be no satisfaction.  The parts are all well-played, but the direction is that same note, over and over.  Ultimately, this is the film’s undoing.

Some people may enjoy the tension, pace and sound of this film.  I just needed to take a nap after it.

(*** out of *****)

2 thoughts on “Clooney’s The American can never rest

  1. Clooney’s character begins the movie with an act so egregiously evil that we never fully regain sympathy for him. He then demonstrates that the Swedish authorities, Interpol and the Carabinieri are all both inept and apparently MIA. He hides in a tiny mountain town where any stranger is obvious and noteworthy; especially a foreigner without visible means of support. Eventually he finds a hooker with a heart of gold, kills a couple bad guys and dies in a bittersweet rendezvous….

    This is adult cinema? This is what a director in protracted adolescence turns out for the artsy crowd; a world where cops stumbling over a body never suspect the dark, moody stranger in town; a world where 5.56MM bullets travel at “320 miles per hour”, and where the first whore you meet is beautiful, intelligent and ethical. Any real criminal behaving like “Mr. Butterfly” would be caught within hours, if Clara didn’t rob him and cut his throat first.
    Grow up.

    1. Thanks, Harry, for taking the time to give your perspective. I will let this movie’s makers know that you want them to grow up. You realize, however, if movies grew up, they’d stop being movies, right?

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