Review of The American (2010) by Andre B — 06 Dec 2012

First and foremost, The American is entirely misrepresented in television advertisements. It's not a hard hitting thriller, nor is it an edge-of-your-seat shoot 'em up action movie. If you were anticipating such things after viewing the trailer, you'll be walking out of the first half hour begging for your money back. The American is a study in how the volatile, elusive nature of a dangerous profession can submerge one in seclusion, both physically and emotionally, and force one into unintended secrecy. The action that takes place isn't the focus of the film. Instead, it's treated as a byproduct of the state of existence being examined. That is exactly what makes the movie so good. It's an intelligent thriller that doesn't use action as its substance. It's insightful and perceptive, placing the action within the context of a well acted character study. Jack (George Clooney) is the man, and The American examines his case with subtlety, directness and precision.

Jack is a man whose brain functions like clockwork. It's rigid and impenetrable. He can assemble a weapon of complex parts in seconds. His hands work just as solidly as his brain, and both of them are essential to his livelihood. You must possess both to be the elite assassin that he seems to be. Without them he would be dead in matter of hours. His entire existence can be forced to change in the blink of an eye, as is showed in the opening scene of the film. His profession makes him nomadic, paranoid and constantly tuned in. Someone is always tailing him or finding ways to learn of his whereabouts. He's lived this way for many years and has become accustomed to it. Things such as killing on a whim aren't abnormal to Jack anymore. In fact, it's just the opposite. All of the dangers associated with his line of work have become so consuming they don't phase him anymore. He's constructed a hard exterior for himself because it's the only way he can survive.

Jack works for a man named Pavel. Their relationship is void of substance. 99% of the time, he is only a voice on the phone giving commands to the man with impeccable skill. Jack carries out his assignment in the Italian countryside in a small town perfectly fit to seclude himself. It's quaint and beautiful, but still full of danger; an assassin who deals in high profile killings is always being hunted. Once there, he picks a spot to live while carrying out his assignment. The spot perfectly mirrors his circumstance. He has a bed, a table with a lamp and a small kitchen to cook food in. There are several telling shots in the movie during his time spent in his "home" that are indicative of his secluded, lonely tendencies. The camera will pan his backside while he sits at the edge of his bed in a less than dimly lit room, his head between his shoulders. His sense of withdrawal is never more present than in scenes like these. In an effort to reach out, Jack befriends a local prostitute named Clara (Violante Placido). At first it's just sex, but it soon turns into something more. He first seeks the idea of artificial companionship because a real life lover might end up dead. Nevertheless, the two develop a relationship, even after his warning "to not make friends.".

Jack's assignment in the Italian countryside is to build a weapon for another high profile assassin. They meet further into town outside of a local café and discuss specifics. The rest of the film is centered on this act. The further he gets into his assignment, the more weary he becomes of motive. Killers always have someone looking to kill them. It's a game of chess. Who can he trust as he continues his task? Is Clera on his side? Is his own boss his enemy? What about Mathilde, the woman he is building the weapon for? A man in Jack's position is forced to constantly second guess himself. It's the nature of the job. And that is precisely what The American is about: the nature of the job and the psychological toll it takes on those who work it. The job dictates the existence of the man, and continues to do so until he removes himself from its daunting, life threatening tasks. The end of the film works beautifully, completing the whole very effectively. Some may think it's predictable, but I think it's just right. To me, it couldn't have gone any other way. Sometimes endings are like that-they're predictable, but they fit.

George Clooney gives a great performance. His portrayal of a man forced to remove himself from the pleasures of normal living is excellent. His delivery is crisp but subdued. He does a great job of always keeping up his exterior, then letting it down when he becomes vulnerable (in his dealings with Clera, in particular). Corbijn has made a very insightful film. The effective combination of drama and thriller make The American a pure joy to watch. I've really never seen a film that mixes the two genres so effectively. Some may find it slow, but that's how character studies are sometimes perceived. If you think about the psychological aspects of Jack's existence, it makes the action sequences that much more rewarding. The American is also very meticulously shot. There are several scenes in which Corbijn films Clooney with a very unique approach. The Italian countryside is a heavily used visual theme throughout the film, and I think many different interpretations can be made by its use in the shot. There seem to be two highly divisive camps concerning the consensus on The American and no middle ground. I think a lot of that is due to the misrepresentation of its genre. If you walk into the theater with some of the things I've mentioned in mind, I think you'll have a really good movie watching experience.