Director: Ben Affleck
Writer: Chris Terrio, Joshuah Bearman (original article)
Starring: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman,
Victor Garber, Tate Donovan, Clea DuVall, Shoot McNairy, Rory Cochrane, Kyle
Chandler
Plot: After the American coup d’état of the Iranian government in
1968, Iranian civilians revolt and hold several American embassy workers
hostage. 6 escape and hold up, secretly, in the Canadian embassy. As their
sanctuary becomes compromised it’s up to the CIA and one agent’s hare-brained
scheme to get them out.
In some circles it’s known as the
“McTiernan run” – three consecutive films wildly popular, highly regarded and
sudden classics. Based on John McTiernan’s trio of grade-A films – Predator in 1987, Die Hard in 1988 and The Hunt
for Red October in 1990 – the film-critic category is something to be favoured
for those understanding the reference. Ben Affleck has just been added to the
group, scoring a hattrick with Gone Baby
Gone, The Town and new-release, Argo. Affleck always suffered some
criticism with parts in Pearl Harbour
and Jersey Girl though his move into
directing has left him invulnerable to any further attacks. The man has clearly
found his better calling and whilst he still acts (and decently, for that matter),
his skill in the business is quite clearly calling the shots.
Affleck didn’t exactly need to
mature with new project choices as Gone
Baby Gone and The Town were
equally profound and tough movies to make, yet he has not backed down in
spotlighting his knack for storytelling. Behind and in front of the camera,
Affleck is a commanding presence though never in an egotistical manner. In
fact, Argo seems him as the lead but
a quiet and restrained one at that. The main pull for the film are Bryan
Cranston, Alan Arkin, John Goodman, and Scoot McNairy who superbly support
Affleck’s efforts as the protagonist. Most of the elements fit together
wonderfully and if any criticism is to be made its the middle part of the film has
less input from the characters of Cranston, Arkin and Goodman than what would be
desired. As Affleck’s Dave travels off to Iran, all three are left behind in
the States to manage the mission from home turf. When we see a more balanced set
of storylines (cutting back and forth between Dave abroad and the CIA and
Hollywood personnel) the film seems gloriously energised but the occasional
departure of this formula does drain the film of some drama.
Slight flaws can be excused for
the sheer satisfaction you get from watching Argo. The plot almost seems overtly ridiculous but you must remind
yourself of the “based on a true story” subtitle at the very beginning. Few
alterations have been made to this extraordinary story and all the way through
you sit there in stupefaction at the bravado of the plan. Even as you may know
how the story ends – with it being a
semi-autobiographical representation – the tension never wanes one bit.
As a film and a movie – to study
and enjoy – it can please on all levels. Aesthetically, it’s gorgeous; with
Affleck referencing the classic 70s political thrillers (i.e. All The President’s Men and The China Syndrome) and enhancing that
idea by shooting on regular film and magnifying it widescreen in age of digital
presentation. Soundtrack would be up to par with the visuals were it not for
some non-diegetic tracks getting cut short (The Dire Straits’ “Sultans of Swing”
being one example) and a score that has little to add to the already-fantastic
sound of the snappy dialogue. More often than not, every part of Argo is polished, demonstrating Affleck’s
natural gift for crafting a film.
Argo is a pure triumph in every way; expertly written, directed and
acted. Unexpectedly hilarious at points, making it not only intriguing and
compelling, put amusing too (“It’s the best bad idea we have” is one example in
a flurry of laugh-out-loud lines). All recognition must go towards Affleck who compiled
a top- troupe of cast and crew without making it a display in blowing one’s own
trumpet. Affleck knows what works and the finale of the film greatly advertises
that notion. Cinematography and editing is tremendous throughout but by the end
it’s in a whole different league – awards-worthy directorial technique. You
leave Argo astonished by what you
have seen and completely in awe of the cast and crew’s proficient contribution
to filmmaking.
*****
By Piers McCarthy. Also posted on LiveForFilms
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