‘The American’

Director: Anton Corbijn

Starring: George Clooney, Violante Placido, Paolo Bonacelli

2/5 popcorns

 

Masked behind expressive depictions of the Italian countryside and smooth tracking shots, ‘The American’ contains just the slightest semblance of a plot. The atmospheric tension director Anton Corbijn creates is gripping, though he’s susceptible to prolonged, meaningless sequences with the hope that they will be mistaken for an artist’s imprint.

 

‘The American’ may be one of the most artistically accomplished wide releases in a while, but its boldness does not sufficiently compensate for its lack of depth.

 

Seeking solace in a small Italian village after a bloody ordeal in Sweden, contract killer Jack (George Clooney) agrees to the small but lucrative task of assembling a powerful firearm for a fellow assassin. Posing as a photographer named Edward, the tight-lipped killer finds comfort in the company of Father Benedetto (Paolo Bonacelli), who entreats him to turn to God. Jack further compromises his identity when he falls for a prostitute, the sweet and caring Clara (Violante Placido), who may pose the greatest threat to his safety.

 

Corbijn’s stylized aesthetic is captivating at times, but the sparseness of the plot makes it difficult for one to buy into his approach. A master at gleaning lushness from seemingly empty scenery, Corbijn is at his finest. He utilizes perfectly composed close-ups to illuminate Clooney’s displeasure with his lifestyle and profession. Corbijn is blessed to have a gorgeous region near Rome as his canvas, though he thrives in intimate surroundings, where he gives life to less-than-exciting environments.

 

If only he could depict true intimacy with the same expertise. The director’s sense of space and form is impressive, but his breathtaking visuals are rendered worthless by a wafer-thin storyline and inadequate character development. Corbijn’s portrayal of Jack is cold and ultimately distancing, failing to offer the audience with a single reason as to why he or she should care whether Jack lives or dies. Corbijn is obsessed with Jack’s secretive, suspicious nature, though his actions become redundant as his air of mysteriousness slowly fogs up. Even if Corbijn simply wants the audience to relish observing Jack, the character is just too dull and lifeless.

 

A movie star of George Clooney’s stature is not programmed to play an unpleasant bore. While his talent suggests he’s capable of tackling any role, his performance is weak as an assassin devoid of character. Clooney is great at projecting a quiet intensity, but he struggles through playing a character with a nonexistent personality.

 

The beloved Academy Award winner, in his formfitting zip-up sweaters and perfectly tailored suits, truly looks like an American James Bond. His persona, however, hardly suits the role. Assassins are generally introverted, but in ‘The American,’ Jack makes the Bourne trilogy character Jason Bourne look like Gene Kelly in ‘Singin’ in the Rain.’

 

Corbijn deserves praise for imbuing a major release with admirable artistic integrity, but he’s just too ambitious. The Dutch filmmaker aspires to compound a masterpiece from a story that never should have been transposed to the screen, impressing with his brash style, but floundering in his own ego. ‘The American’ could have been a fine romance or an exciting action movie. Corbijn thought it could be both, but wound up with neither.

smlittma@syr.edu

 

 

Published on September 8, 2010 at 12:00 pm