The Good German

28 11 2007

The Good GermanAs I’ve mentioned previously on this site, George Clooney and Steven Soderbergh have a history of collaborating on as many fringe projects as crowd-pleasers (though even their less mainstream films still have some sort of appeal for wider audiences). Falling more into the former camp is The Good German, Soderbergh’s attempt to recreate the film noir genre.

Of course, most filmmakers would be content to stick to using lighting, camera angles, editing and maybe black and white film to help set the tone, but Soderbergh has gone all-out, reverting to the technology of the era, including mics, lighting and lenses, to create a truly authentic experience. Couple this with the acting style and the dramatic film score by Thomas Newman, and the illusion that this is indeed a film from the ’40s is almost complete.

Yet somewhat incongruent to all this effort on Soderbergh’s part is a script that includes sex scenes and swearing. It’s not that Paul Attanasio’s screenplay is bad — it’s actually very good — but for this purpose it just doesn’t suit.
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The Bourne Identity

17 11 2007

The Bourne IdentityIn 2002, indie filmmaker Doug Liman gave us The Bourne Identity, a refreshing change of pace to the sterile, perfunctory antics of the then-current Brosnan-era James Bond. Where Bond seemed clunky and outdated, Bourne was slick and modern, and it’s more than likely no mere coincidence that a retooling of the Bond franchise was undertaken in Bourne‘s wake, resulting in 2006’s Casino Royale.

But enough about James Bond.

The Bourne Identity is a film based loosely on the 1980 Robert Ludlum novel of the same name; in it, we follow Matt Damon’s character, an amnesiac who may (or may not) be a man named Jason Bourne. As the film progresses, he discovers (along with the audience) that he is incredibly skilled at hand-to-hand combat, can retain important tactical details about his surroundings without any conscious effort, and has a knack for stunt-driving through the streets of Paris. Meanwhile, assassins are out to kill him at every turn.

Curiously, I rewatched this film recently because I had no recollection of the plot beyond the vaguest of details, and now, having seen it again, I realise that my memory was actually pretty good. There really isn’t that much to the film, but while you’re watching it, the illusion of substance is maintained.
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Michael Clayton

14 11 2007

Michael ClaytonThe partnership of George Clooney and Steven Soderbergh has been a fruitful one — for every Ocean’s Eleven, there’s a Good Night, and Good Luck. waiting around the corner. Now, once again serving as executive producers, Clooney and Soderbergh have given us Michael Clayton, the directorial debut of screenwriter Tony Gilroy.

Michael Clayton (Clooney) is a “fixer” in a legal firm in New York, troubleshooting the unexpected and cleaning up other people’s messes. He doesn’t particularly enjoy his job, which seems closer to legal janitorial work than anything of great significance, and his personal life is spiralling out of control with a failed business venture, a gambling addiction and mounting debts. When Arthur Edens (Tom Wilkinson), one of the firm’s top partners and an old friend of Clayton’s, has a spectacular manic episode during a filmed deposition, Clayton is once again relied upon to rectify the situation.

On the surface, this film concerns the kind of corporate greed that puts the bottom line ahead of ordinary people’s lives, but there’s something more fundamental going on here. Edens, through a series of rants brought about by his unmedicated bipolar disorder, talks about the filth and taint that he’s accumulated over the years in his role of defending the indefensible. On the other end of the spectrum is Karen Crowder (Tilda Swinton), the lead counsel for the company U/North (whom Edens was defending), who effectively sells her soul in order to please her masters, willing to sacrifice any moral code she may possess. Clayton seems somewhere in the middle, caught in an amoral malaise that seems both endless and futile.
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