Review of The American (2010) by Nick C — 19 Mar 2012

Coming off of one of his best years, George Clooney signed onto âThe American,â? the story of an assassin hiding out in Italy for one final mission. Quickly it rose to the top of many peopleâ(TM)s âmost anticipatedâ? list. After all, the trailer seemed to carry all the essentials for an enjoyable two hours: Clooney, who has gone from heart throb to all around respected actor, attractive foreign women, violence, suspense, danger, weapons and sex. Hereâ(TM)s the problem: the trailer can sometimes paint a much different picture. Did âThe Americanâ? contain all of the above mentioned characteristics? Yes, but in smaller portions than anticipated. âThe Americanâ? has, for the most part, been met with mixed response, which comes as no surprise. Some may have let the deception of what they believed the story to be about completely overtake them. Others wouldnâ(TM)t even bother to think of the film in broader terms due to itâ(TM)s, for lack of a better word, boring story. Itâ(TM)s not for everyone, but âThe Americanâ? definitely holds a point.

The plot is rather straightforward; an assassin named Jack (Clooney) is hiding out in Italy for one final task. During his stay, he becomes friendly with a priest and striking prostitute named Clara.

Anyone who comes into âThe Americanâ? expecting to see a Bourne/Bond-like spy film will be disappointed. By no means does our main assassin appear to be on the run like a Jason Bourne, nor is he quite as cool and vocal as James Bond. Broken down, âThe Americanâ? follows Jack day-by-day and gives its audience a rare treat; actually seeing the lifestyle of an assassin. Certainly the landscape helped, but there seemed to be something beautiful about the seclusion of the story. Although it was downgraded for its inability to form an emotional connection between its characters and the audience, âThe Americanâ? may just take advantage of it. Typical of the assassin story, Jack is rather alone save for one or two individuals. With a lack of dialogue and physical acting that gives off the vibe that itâ(TM)s âbusiness as usual,â? the emotional connection, or lack thereof, between Jack and the audience is parallel to the character on screen and the stories worldly contact. An emotional connection may not form with the character, but the audience does get to experience how Jack must be feeling. Cooped up, secluded, yet alert and waiting for something to happen because, after all, it is an assassin movie.

Obviously, âThe Americanâ? isnâ(TM)t without its flaws. While some have no problem accepting the story as it is, for the other half the movie is one hundred and six minutes of torture. It contains action, but itâ(TM)s spread out through such longer intervals that itâ(TM)s not nearly enough to hold the interest of the common moviegoer. Its narrative timeline and overall structure give off the feel of an independent film more so than a wide release. For many, seeing George Clooney walk around, drive around, sit in his room and fiddle with fire arms certainly wonâ(TM)t be worth the watch and the fact that âThe Americanâ? contains much less dialogue than the usual movie complicates matters more. Overall, for most viewers, the problem with the film wonâ(TM)t be of deeper meaning such as caring for the characters or trying to figure out Jack as a character study, but the fact that not enough direct action is happening on screen.

As âThe Americanâ? only contained a few major characters, crediting the cast is more difficult. First and foremost, George Clooney brings his absolute A-game as the reserved, unexpressive hit man. Due to the lack of dialogue, most of Clooneyâ(TM)s acting is from a physical standpoint. Clooneyâ(TM)s patience has been worthy of kudos as most scenes simply called for him to look alert, yet almost bored; meeting at an undisclosed point that almost suggests deep thought. Almost always speaking in monotone, Clooney truly becomes the figure of an isolated, cold-blooded killer. The rest of the cast is simply built around Clooneyâ(TM)s character, as Clara, Violante Placido does her job of being both sexy and mysterious enough to keep Jack on edge. In the end, Placidoâ(TM)s character as well as Paolo Bonacelliâ(TM)s Father Benedetto is nothing more than the shadows of people Jack happens to bump into during his work. Their lack of screen time says all that one needs to know: Jack is alone.

One of the seemingly unanimous praises that âThe Americanâ? has received is for its cinematography. Filmed in Italy, the filmmakers had the advantage of going to town for their viewers to make sure to paint a masterpiece of a setting. While the overhead shots as well as the riverbed shots will receive most praise, many of the alleyway scenes were shoot will extreme delicacy and help the film set the atmosphere and tone. Another aspect of the cinematography that will undoubtedly go under the radar is the many shots that contain Jack and only Jack, from street shots to cafà (C) shots to shots in his car and room. It reinforces the separation of Jack from the rest of the world and emphasizes his hiding.

When all is said and done, âThe Americanâ? wonâ(TM)t be everyoneâ(TM)s cup of tea. The pacing is rather quick on a day-by-day basis, but for some this narrative structure will become tiresome and tedious. Simply put, it will not be a fun, or entertaining watch. On the other hand, fans of the independent film, big fans of the spy/thriller movie and George Clooney fans should take the time to check the movie out. âThe Americanâ? never tries to be anything that it isnâ(TM)t and its style offers a change of pace that will make for an enjoyable watch for those looking for something like it.