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Catholic movie review - The American |
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By Joseph McAleer - Catholic News Service
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Friday, 03 September 2010 |
George Clooney is in a very bad mood in "The American" (Focus), playing a hired assassin who has soured on his profession and contemplates a better life. While this should be a gripping, fast-paced thriller worthy of the Jason Bourne franchise, the title character's depression and sheer lethargy keep the film's gears firmly in park, leaving the audience bewildered and disappointed.
George Clooney stars in a scene from the movie "The American." CNS photo/Warner Bros.
Additionally, although the serious intent of the filmmakers is clear, scenes of graphic sexuality suggest a very restricted audience, while the treatment of Christian morality -- via the presence of a far from exemplary, but nonetheless sympathetic Catholic priest -- is unsatisfying and insubstantial.
In a much darker role than he usually plays, Clooney is Jack, a loner
who is the consummate professional when it comes to killing people. A
job in Sweden goes terribly wrong, and Jack flees to Italy, where his
employer sets him up in a safe house in a picturesque mountaintop
village in Abruzzo. Here, Jack, the lone Yankee and a fish-out-of-water,
begins to heal, tasting the pleasures of a "normal" life, which (for
him) includes plenty of time at the local brothel.
Predictably, Jack falls for Clara (Violante Placido), a prostitute with a
heart of gold, and he begins to dream of living happily ever after with
her. Not so fast: There's one more job for Jack to carry out, and he
reverts to form, making high-tech rifles on his kitchen table for
mysterious lady agent Mathilde (Thekla Reuten).
There are big decisions to be made, and Jack wanders aimlessly up and
down the cobblestoned streets, brooding about life and destiny. He is
befriended by the local clergyman, Father Benedetto (Paolo Bonacelli),
who senses Jack's torment and offers friendship, advice and lots of
vino.
The treatment of Catholicism in "The American" is respectful but not
very deep. Father Benedetto pops in and out as the film's moral compass,
wagging his finger, appealing to Jack's conscience (what's left of it).
"A man can be reached if he has God in his heart," Father Benedetto
says.
The priest is revealed to be a flawed man himself, but one who has been
reconciled to God and redeemed -- offering hope even to a professional
killer.
Ultimately, "The American" isn't very interested in bigger issues such
as salvation. Jack will not come clean, so we never learn the back story
of how this seemingly nice guy fell from grace. He conceals his sins
from everyone, even Clara, who calls him Edward and thinks he is a
photographer who likes butterflies. They make plans to run away, but
Jack discovers it's hard to leave the past behind.
Based on the novel "A Very Private Gentleman" by Martin Booth and
directed by Anton Corbijn ("Control"), "The American" scores high marks
for its cinematography and art-house look. Multilayered villages are the
perfect labyrinths for games of cat and mouse. Like Francis Ford
Coppola in "The Godfather," Corbijn juxtaposes good and evil to dramatic
effect, staging a solemn religious procession through the village
streets as the backdrop to the film's final battle.
The film contains bloody violence including multiple shootings;
full-frontal female and partial male nudity; and explicit scenes of
nonmarital sex. The Catholic News Service classification is L -- limited
adult audience, films whose problematic content many adults would find
troubling. The Motion Picture Association of America rating is R --
restricted. Under 17 requires accompanying parent or adult guardian.
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