Hopping Aboard the Affleck Train (or Plane?)
November 1, 2012
Argo (2012).
D: Ben Affleck. W: Chris Terrio. DP: Rodrigo Prieto. Starring: Ben Affleck/Bryan Cranston/John Goodman/Alan Arkin/Victor Garber/Tate Donovan/Clea DuVall/Scoot McNairy/Rory Cochrane/Kyle Chandler/Chris Messina/Kerry Bishe. (NOTE: Script based on Joshuah Bearman’s article “Escape from Tehran.”)
Already a festival and critical darling before its wide release, Argo marks actor/writer Ben Affleck’s third directorial effort. 2007’s Gone Baby Gone and 2010’s The Town were not only successful, but also affirmed Affleck’s good taste in adaptable material. Argo is no exception. Keeping with his theme of interpreting strong established material, Affleck ups the anti in tackling a real life rescue mission.
Argo, of course, refers to a fake science fiction movie the CIA operative, Tony Mendez (Affleck), fake produced and scouted for as a guise while actually shepherding American diplomatic hostages out of Iran in 1980. In conjunction with the Canadian government, Affleck’s Mendez created an elaborate farce to get in and out of the country. Luckily this farce makes for a great story. Taking the lead (on and off camera), Affleck deftly balances the tense danger of Iran and the hostages with the second hand tension in the CIA offices and Hollywood production offices of Argo.
Affleck might have learned a few things from his 2009 acting turn in State of Play, but we’ll never know. His film actually succeeds where that one failed. Not only is the premise much more succulent, but there is so much tension from start to finish you hardly breathe until it’s over. Familiar experiences like customs crossings become dangerous mind fields of fear and most audiences will end up forgetting that they already know the outcome. Thankfully some light moments with the brilliant John Goodman and Alan Arkin as Hollywood archetypes allow you to laugh (even if one joke is redone about three times too much).
This balance between two parts of the world also visually allows Argo to explore how information is circulated and lives that exist on the same planet can be so disconnected. Victor Garber, as the Canadian Ambassador in Iran, acts as this bridge between worlds and helps ground the group dynamic of his hostages. In the modern age of technology it is easy to buy into the compulsive use of the internet and cell phones. But let’s not forget there was an age before that! The hostage group, all masterly handled by the actors, effortlessly allows the film to remain personal and engaging. Affleck helps this engagement by using close-ups and tight shots that bring out the suffocation and fear of the hostages.
One of the few pitfalls of Argo is that Affleck gives himself a bit too many glamour/tortured Daddy moments. Understandably Affleck’s acting presence helps get his movies made. However, in this scenario he should have concentrated a bit less on these moments as the true story lies in the action of his character and his intelligent thinking on his feet. This does not ruin the film, but certainty detracted from its mood and rhythm. Thankfully, the man can grow a decade appropriate beard as well.
Get in and go…TO THE MOVIES
September 23, 2011
Drive (2011).
D: Nicolas Winding Refn. DP: Newton Thomas Sigel. W: Hossein Amini (based on the book by James Sallis). Starring: Ryan Gosling/Carey Mulligan/Bryan Cranston/Christina Hendricks/Albert Brooks/Oscar Isaac/Ron Pearlman/Kaden Leos.
This fall film season has now seen its first big independent hit with Drive. It’s star, Ryan Gosling, has already been seen this year in the summer comedy, Crazy Stupid Love and has another film, Ides of March, out later this fall. Can you handle the Gosling fever?
Drive rests nearly entirely on Gosling’s shoulders as his turn as the Driver (he’s so mysterious he doesn’t have a name) carries the whole project. Luckily for audiences Gosling’s usual slicked hair, sexy bravado, and goofy grin are coupled with a weighted performance that never reveals all that there is to his character. Rather as the film reaches its crescendo, Gosling pulls back layers and gives the film the strong thread it needs to succeed.
The weight in Gosling also forces the story of Drive to never feel too simple or its construct over stylized. His Driver soon meets Irene (Carey Mulligan) whose literally the girl in the apartment down the hall and befriends her and her son Benicio (Kaden Leos). It only gets complicated when Mulligan’s spouse played by Oscar Isaac turns up later on while Gosling’s stunt driving career (moonlighting as a getaway driver) might lead to a race car driving one. Yet none of these other actors can really pull focus from Gosling, whose bigger picture motivations are never actually revealed or relevant. However, Bryan Cranston makes a nice turn as Gosling’s boss/fellow car junkie.
Stylistically, Drive is the most memorable film of the year so far. It commits to its Los Angeles location and the image of the western lone ranger, now late night driver doing his best to get by and disappear. Even better is the contrasting use of music and silence. This allows the music to be delivered so deliberately that it enhances the visuals its coupled with. And therefore also allows the minutes and sequences without background noise to feel raw and stripped, allowing Gosling’s glove squeaking or the clock of a gun to contribute to a scene rather than be lost in it. This clear visual choices for the film are also in a nice balance with Gosling and the other actors’ performances. Whereas normally scenes might feel underplayed and a bit slow, you instantly forgive that since it is in such stark contrast to the music, the editing, and eventually, the distinct and unforgiving uses of violence.
Ultimately, the most impressive thing about Drive is its clarity of vision and use of style to tell a specific story. Although the scenes of violence might not be for all audiences, they are necessary and integral to the story. And who does not expect a bit of violence in a story about a man who crashes cars for a living? Yes, maybe not this level, but is exactly what Drive is. Nothing you expect and everything you want at the same time. All set to a soundtrack that will be played in cars all fall.