The notion of being a highly paid, much-in-demand craftsman who can command big money working for yourself is an attractive one. Unless, of course, that job involves killing people. That’s the situation the hero faces in The American. The problem being that not only is killing people not a lot of fun, but it usually means people want to knock you off too.
The American is the second movie from the Dutch photographer turned film director Anton Corbijn, and unlike his first film Control which featured only British talent, this one has a big name: George Clooney. The Hollywood star does not play his familiar wise-cracking charmer however, here he creates a very different creature altogether. This role is more Syriana Clooney rather than Ocean’s 11.
The movie starts in the snowy beauty of Sweden where Clooney’s character, Jack, is hanging out in a plush wooden cabin with his rather lovely girlfriend. When some bad guys turn up he has to make a fast exit and it becomes clear that Jack isn’t just some IT geek, he is just too handy with a firearm. He ends up in a small town in the Abruzzo region of South Italy, where he starts calling himself Edward and is given a commission (via a beautiful woman who is somehow linked to his shadowy boss), to build a small portable rifle that will presumably be used to assassinate someone. He doesn’t ask questions however.
There are a couple of things to remember that will make The American more enjoyable. Firstly, the director Anton Corbijn is perhaps best known as a rock photographer who has taken some very moody snaps of the likes of The Joy Division, Depeche Mode and U2. The film is beautifully shot, but the artful composition of the austere winter landscapes never seem to be overly indulged.
It would also help to remember that the film is based on a book called A Very Private Gentleman by British author and poet Martin Booth – yes, that was ‘poet’, we’re not talking Tom Clancy here. The protagonist in the novel is supposed to spend most of his time painting and reflecting on food, nature and art, when he’s not working on his weapon. Clooney‘s Edward is certainly private as far as the inhabitants of the town are concerned, he’s almost inscrutable to the audience too. Of course, if you’re in the this line of work you can’t afford for anyone else to know about it, but Edward isn’t just lying low, he’s had enough. Clooney builds a character who is jumpy yet controlled, both haunted by the past and hunted by the present.
It must be said that not a lot happens in the film, but this doesn’t make it dull. Corbijn manages to create just enough tension to keep us intrigued and weaves it through with some curious relationships. Edward strikes up an odd-couple friendship with the town’s priest (Paolo Bonacelli) who he chats to about about sin and redemption, and finds Clara, a local prostitute (Violante Placido) who fulfils his more physical needs. It is as the relationship with Clara develops the film really begins to warm up.
Although there is action, this American is certainly not Matthew Bourne. The screenplay was written by Rowan Joffé who also wrote the new version of Graham Greene’s Brighton Rock coming out next year, and this film has something of the melancholic ‘burnt out case’ of Greeneland about it. It’s not upbeat or fast paced, but in the end The American is emotionally satisfying.
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