THE AMERICAN is gorgeous and gripping, a real Oscar contender (review)

Rating:  (Awesome)

The American is not the balls-out action movie its advertising suggests; it isn't like every other shoot 'em up released this year. Instead of constant gunfights, we get a subdued and intense look at an assassin's life. Here is a film where composition and silence do more talking than the dialogue. If you want explosions, go see The Expendables. Fans of film, come closer; this movie's for you and it's been given a wide release. Few films are this patient, focused, minimal, beautiful, and riveting. Go see it and take your friends. 

An assassin named Jack

The story is pretty simple. George Clooney is an assassin named Jack (or is it Edward?). From what I gather, he's been in this line of work for a long, long time. As we enter, Jack is attacked while 'vacationing' in a snowy cabin somewhere in Sweden. During the crossfire with Swedish assassins, his 'girlfriend' is killed. I put these words in quotes because in Jack's line of work, he cannot have real vacations or relationships; he is alone.

His loneliness is his one weakness, and it has started to affect his work. After the Swedish incident, he hides out in Italy to perform one last job. This time he only has to build a custom rifle; he doesn't have to pull the trigger. We spend the bulk of our time watching Jack build that weapon and try to face a fate that's quickly closing in around him. Luckily, that's not all there is to it.

Beautiful. Quiet.

From the first frames of The American, Director Anton Corbijn's roots as a photographer are evident. Every shot is a moving work of art, rich with meaning. Corbijn patiently uses a still shot approach, letting compositions fall into place with a style somewhere between The Graduate and Still Life. His minimalist use of color and depth of field are equally impressive. Imagery dominated my first viewing of The American. Only on my second time through did I begin to explore deeper.

With these patient, beautiful compositions is a looming silence. Entire scenes go by without a single line of dialogue, and when characters do speak, they do not mince words. Father Benedetto (Paolo Bonacelli) bluntly tells Jack "You cannot deny the existence of hell. You live in it." Jack acknowledges this truth with his actions more than his words. Benedetto wishes for Jack to confess his sins, but Jack knows he cannot confess to the sins he may soon be forced to commit. The music score by Herbert Gronemeyer is also sparse and appropriate. Few films use sound better than The American.

Butterflies and more...

There are a thousand more things to point out. Butterflies play a role in the film, as does it's title (The American). Even the three lead female actresses are of interest, as is the fact that all of them begin to look more and more alike. But really, it's about Jack. At first you may think Corbijn keeps you at arms length from Jack, but if you think you don't know him, pay closer attention. Without realizing, you may be tied tighter to him than you think. Clooney's performance is subdued, but familiar.

The more I watch The American, the greater I appreciate it. There is little action here, but Corbijn utilizes everything film has to offer. Every shot has meaning; every sound has significance; every action has purpose. This is a fascinating film that I have only begun to explore.