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Monday, October 22, 2012
MOVIE REVIEW
Argo
A Movie, Holding Hostage The Hostage Crisis In Iran
Ben Affleck as Tony Mendez and Bryan Cranston as Jack O'Donnell in Ben Affleck's
"Argo".
Warner Brothers
by
Omar P.L. Moore/PopcornReel.com
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Monday, October 22,
2012
Ben
Affleck does a fine job directing "Argo", which opened recently across the U.S.
and Canada. The film is based in part on Joshuah Bearman's 2007 Wired
Magazine article on the true story of the "Canadian caper", in which CIA
operative Tony Mendez engineered a fake movie production with Hollywood makeup
icon Jack Chambers to surreptitiously extract six American hostages out of Iran
during its revolution and hire-wire tensions between the U.S. and Iran in 1980.
Mendez got fake Canadian passports, got the half-dozen hostages holed up in a
Canadian embassy to pretend to be filmmakers, and the rest was history.
As gripping and riveting an opening 20 minutes as you'll ever see on film,
"Argo" begins with a cursory history of Iran, with Mossadeq, the secular Iran
leader assassinated in the 1950s by the British and Americans through to the
U.S.-installed Shah, then plunges us full-throttle into a well-directed sequence
that is highly intense. The angry throngs of Iranians outside the U.S.
embassy. The fearful Americans inside. The panic at the C.I.A. in
Langley, Virginia. Documentary footage. This particular opening
scene is superbly orchestrated in its direction, cinematography and especially
its editing, and the three categories will see Oscar nominations in January.
"Argo" captures adrenaline high-stakes roulette, adrenaline and knife-edge
tension in a convincing way. Mr. Affleck successfully tells a fascinating
true story on film, though there are too many vanity close-ups of the
director, who plays Mr. Mendez, walking in and out of offices, deliberating,
reasoning, grimacing. The low point of "Argo", a good film, not a great
one, is this subtle vainglorious posturing, more indulgent hero worship of Mr.
Affleck than of Mr. Mendez, who achieved something back in 1980 that you simply
couldn't script if it were part of a Hollywood movie. Only it is
scripted, by Chris Terrio.
There's impressive work by Bryan Cranston as Jack O'Donnell, Mendez's boss at
the C.I.A. and Victor Garber as the Canadian embassy official host in Iran,
where the American hostages enjoyed a tenuous type of asylum. Alan Arkin
has some snappy lines as a B-movie producer, even though a foul-mouthed punch
line grows tiresome. I wish that for all the degree of difficulty in
pulling off such an ambitious project that Mr. Affleck had focused solely on
directing and given the Tony Mendez role to
Demián Bichir,
Benicio Del
Toro or another actor who could give more depth and range to Mr.
Mendez, an American of Mexican heritage born in Nevada. Sometimes Mr.
Affleck, whose best directing effort remains
"Gone Baby
Gone" ("Argo" is a close second), looks like a lumbering potted plant
when portraying Mendez, or a long-lost Doobie Brother.
While the circus atmosphere of the Jack Chambers episode (and its attendant
comic relief aspects) of "Argo" are welcome as a leavening of the thick
atmosphere of danger and foreboding, often such scenes (which include what looks
like film producing icon Robert Evans) and several "Hollywood" moments
completely took me out of the film's serious events. Are the arguably
gimmicky Hollywood parts of "Argo" its centerpiece and the Iran hostage crisis
its background or vice versa? Sometimes, given the emphasis of one over
the other, you cannot be sure. To this end Mr. Affleck's film feels
schizophrenic: galvanizing and heart-pounding at the beginning and end but
distracted and self-congratulatory in much of its middle.
There are at least three competing films and storytellers in "Argo": the
documentary footage including newsmen like Walter Cronkite, Dan Rather, Tom
Brokaw, Peter Jennings and Ted Koppel, covering the American and Iranian climate
surrounding the hostage affair; the political potboiler drama of the CIA office
and its bureaucracy, with Mendez as a maverick; and the urgent predicament of
the six American hostages in Iran, symbolic of the scores of Americans held
hostage in Iran over several years in 1979 and the early 1980s.
Interestingly Mr. Affleck bypasses the Carter-Reagan election politics
surrounding the delayed release of many other hostages until 1981, a famous
maneuver as cynical and calculating as some aspects of "Argo" are.
"Argo" feels like a paean to Hollywood movie making. Mr. Affleck's
nail-biting drama extols the virtues of America's last great export, movies, as
an entertainment that literally saves the world (or at least six Americans.)
Movies as American foreign policy in the 1980s, if you will. In a
penultimate scene of "Argo" the director shows how an American mainstay like
Hollywood movies fascinates and intrigues the very people who may have strong
justifiable reasons to hate America on a political and moral level. It is
this telling fact, whether illustrated for dramatic license purposes, or
otherwise, that makes "Argo" as much an instrument of its own Hollywood
self-parody as an irony unto itself. If the movies can't set you free, you
can hear "Argo" saying, then nothing else will.
Also with: John Goodman, Tate Donovan, Zeljko Ivanek, Clea DuVall, Kerry Bishé,
Chris Messina, Kyle Changler, Rory Cochrane, Scoot McNairy, Christopher Denham.
"Argo" is rated R by the Motion
Picture Association Of America for language and some violent images. The film's running time is
two hours.
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