Review of Syriana (2005) by Steven C — 20 Mar 2011

"Syriana" is a rubrics cube of a film and like a rubrics cube, it can be maddening, unassuming and unsatisfying. But also like the game, "Syriana" can be immensely rewarding if given the proper attention.

"Syriana" is not a film for everyone, hell, it's not even a film for most fans of "Traffic" (Stephen Gagan's other complicated screenplay about an endless geopolitical issue).

I read in a review that "Syriana" is like trying to follow four separate chess games at once and I believe that to be extremely accurate. The characters in the film are 'professional liars' as one puts it, making it extremely hard to track their actions, but it's in that intense conflict where "Syriana" is it's most gripping.

Figuring out who is connected to who (hint, they are all connected) and tracing how the smallest decisions can lead to death is fascinating. Everything about the film rings true, from the dialogue, to the locations, to the interactions.

I also was really taken in by the themes of family. "Syriana" also works as an epic family crime saga. I use the term loosely because 'families' can be created on a whim in this film.

It's interesting to see how the oil business (or epidemic? or addiction?) can corrupt every aspect of a (born or self made) family. Special note should be paid to the actors with George Clooney (in an Oscar winning role), Matt Damon and Christopher Plummer standing out.

What solidifies "Syriana" as the defining political thriller of the 00s is Robert Elswit's (my favorite DP) cinematography. He makes the film cohesive when it seems as if it's going to fly off the rails.

"Syriana" is a film we really don't see made anyone, a political thriller that zeros in a situation rather than a person to make a statement about a problem.