Transsiberian

If you believe Americans deserve a happy ending because even if they're stupid, they're true believers, and they're on the right side of moral values-- then you can stomach the twists and turns of the plot. After all, it started off with potential. It's got honest-to-goodness Russian scenery on a real Russian train. Yes, there probably is international narcobusiness on the Transsiberian, corrupt police, rude conductors. But it's all a bit over the top.

There are very good actors. Ben Kingsley is above reproach. Woody Harrelson is right on target as an oafish Iowan abroad. But why would his wife spill out her story to a stranger on a train if it were not that the screenplay needed enough back-story for an implausible relationship? And isn't it suspicious that the Spanish hunk is the evil tempter, ergo the only character responsible for his misdeeds? And violent torture is the specialty of the Russian mob, so even when they realize they're dealing with mere dupes, they must literally extract their pound of flesh?

Brad Anderson is probably the best unknown director working today. He's the independent Christopher Nolan, often making character-driven, psychologically complex flicks that transcend the trappings of their respective genres. In the past he has successfully combined elements from time-travel thrillers and romantic comedies in 2000's "Happy Accidents", delivered a taut "Shining"-esque thriller in 2001's "Session 9" and then provided a stirring Hitchcock homage with 2004's "The Machinist" (which also featured a gonzo performance from Christian Bale). With "Transsiberian" Anderson attempts to breath life back into the often forgotten train-based thriller. Like those three earlier films, "Transsiberian" was made on the cheap, yet still manages to feature great camera-work and well known faces headlining the cast. In terms of the logistics of the location shooting in Lithuania (doubling as Siberia), this arrives as Anderson's most accomplished film from a technical standpoint.

The story starts off with an American couple (a goofy Woody Harrelson and a criminally underrated Emily Mortimer) returning from missionary work in China by route of the famous Transsiberian railroad. Once on board the train, they befriend a young couple (Kata Mara and Eduardo Noriega) who claim to be student-teachers returning from Japan but might be hiding something sinister. The screenplay does a good job of building up to "something" and developing the characters, especially Mortimer's Jessie, delving into her past with expository dialog that makes you care about where these characters are headed and think deeply about their motives. Without giving away too much of the film, entanglements ensue as a drug smuggling operation comes to light, and in steps Ben Kingsley (excellent as a Russian bruiser) as a narcotics detective with a special interest in the case.

There is a point, however, where (pardon the pun) the screenplay derails, and despite some unexpected twists, there never seems to be that big payoff. The film keeps the viewer on their toes with a bizarre turn of events at an abandoned church and a shockingly grim torture scene, but the psychological ramifications of these events are never probed as deeply as they could've been. The seductively cute Mortimer gives a nervy, complex, and excellent performance as Jessie, keeping the viewer invested in her character and what could happen to her even as the screenplay goes all over the map with her development. Woody Harrelson's performance is more of a conundrum as he seems to be playing a book-smart version of his moronic character from "Cheers". He makes you laugh during some of the more ridiculous scenes as the plot holes get deeper, and whether that was intentional or not to break the tension or gloss over the leaps of logic is never clear.

"Transsiberian" should please those looking for something different from your run-of-the-mill Hollywood thriller. Though the screenplay initially gives us characters that feel like real people, the mechanics of the convoluted plot spoil the potential of that development. However, the film still offers up an exotic locale, solid direction, and interesting performances, which makes it easy to recommend.

A handful of familiar plot elements (all used effectively by Hitchcock, so let's not look down our noses here) is vividly drawn in a great location. We're not on Amtrak and the more perilous side of American's traveling in distant lands is beautifully rendered by the director Brad Anderson and sensational cinematography by Xavier Giménez.

However, it's the cast that takes this from something routine to something very unsettling. Emily Mortimer gives a fine performance as a woman trapped by her past. She does more with this role than perhaps was written and finally cinches her place as an actress you can count on. Two supporting roles, Eduardo Noriega being a great predatory villain who sees a mark in Emily Mortimer's character and plays her for all she's worth. At his side is an unsettling performance by Kate Mara, who with less to say makes a very vivid impression as a girl who's both mysterious and sympathetic.

Woody Harrelson stumbles, but he's always interesting to watch. His character doesn't belong in this film (which is almost the point of the movie) but he plays naive closer to dumb (or dumber). And we understand why Mortimer may be frustrated with her marriage, but it's halfway through the film that lots of beans are spilled about her past and everything we've seen and will see is dead on and convincing.

Less convincing is the plot which isn't up to the level of the other elements. I'm not sure in a real world these characters would have faired as well as they do or nearly so long.

Ben Kingsley shows up and works fine as someone who may be the lifeline to our travelers, but as the action heats up too many things require answers that the plot doesn't have time (or the audience much interest) in figuring out.

Yet it's one of the better films this summer. And if you don't like what's going on with the plot, you can always look at the exotic frozen Lithuanian scenery, or the shadows of fear the Emily Mortimer sends across her face tingling up our own spines. Terrific performance.

Trains are famously atmospheric, especially on long runs across remote areas like China to Moscow through Siberia. Voilà: the Transsiberian railway. The quartet who meet in a compartment aren't really likable, but you're thrown in with them, like on a train--the way Roy (Woody Harrelson), his wife Jessie (Emily Mortimer), Carlos (Eduardo Noriega) and Abby (Kate Mara) are thrown together in this tight, exciting, basically old fashioned thriller. This is the new Russia of big money and mafia corruption, but the ingredients are tried and true. Strangers on train: there's something Hitchcockian about the way innocent people get roped into incriminating situations and then appear perhaps not to be so innocent after all.

They're on a very long ride, and in the overheated intensity of the cars (you can't seem to pry the windows open) things are blown out of proportion. They're too naive, too suspicious, too sexy. Roy's too pious and decent and upbeat. Look at the donut and not at the hole, is his motto. He's a very Christian hardware dealer and Jessie is his wife with a wild past that comes out when she meets another woman. They're returning from some sort of Christian outreach project in China. Roy's like a little boy: he loves trains. The Express is like a huge toy all for him. He's very devoted to Jessie, but the sex hasn't been going too well.

The next day into the compartment comes a younger couple. Carlos and Abby say they were teaching in Japan. However, Carlos, a handsome devil, who has his eye on Jessie, seems to know a little too much about how to get past customs with a dodgy passport. He shows off theirs proudly to Jessie, who's had a bit of trouble with the Russians. Her passport and Roy's are too pristine, he says. It makes the officials suspicious. His and Abby's are packed with stamps. They look "real." He's got some of those Russian dolls, the little lacquered things like shoots only with babushka heads, one inside the other. He says his are special, and he's going to sell them for a lot of money.

Well, he is, but that isn't why.

The train makes long stops, and Roy is so fascinated with the cars, he gets involved in a conversation with Carlos, and then the train takes off without him. Abby and Jessie have had a heart-to-heart and Jessie has confessed she had a lot of drug and alcohol problems. Roy says they "met by accident" because they met in an accident, when she was driving drunk and he stayed with her in the hospital. That's when he told her the donut and the hole story.

Carlos is dangerous, handsome, and predatory. Jessie has that wild side gesturing wildly to be let out again. And he could be the one to tease it out.

When Roy gets left behind Jessic has to get off at the next stop and wait for him. Carlos and Abby insist on getting off with her and keeping her company. And that's when the trouble really begins. Stuff happens. Surprising stuff. Or not. Depends on how good you are at predicting this kind of plot.

But the thing is, Brad Anderson and his writing collaborator Will Conroy have put together a story rich in atmosphere, that really convinces you all this could only happen here, on the train, in the snow, in the none-too-touristic rural Russian hotel and on a bus, and out in the middle of nowhere. The outdoors is all snow. The train cars are rickety and yet tough. The woman attendants are all Nurse Ratcheds who speak nothing but loud angry disapproving Russian. The food sucks, but the vodka flows. (Jessie refuses it, but when things get tough, she downs a shot. This is a world bad enough to make all but the strongest lose their sobriety, and she wears her heart on her sleeve.) The Russian fellow travelers are a mixture of camaraderie and hostility.

And then, of course, along comes Ben Kingsley, as Grinko, detective of Russian Narcotics Bureau (no articles, please). When Roy reappears, he's made friends with Grinko. Well, before that, early on, we happen to have seen Grinko examine a man at a table with a knife buried in the back of his head. Cherchez les drugs.

I can't tell you any more. I can tell you that the trains are so lovely they make you understand Roy's enthusiasm. Whole cars give off a smoky ooze of white frozen air whenever you look at them. To heighten our sense of the visual in all this, Jessie is a good amateur photographer, armed with an expensive digital Canon with a big lens, and the images on screen often jump with a hand-held camera, but also step back to take in long views of a skeletal ruined Russian church out in the waste, or to snap a hawk in the sky, or a bunch of huddled old ladies at a station near a rubbish bin where Jessie is trying to dump something incriminating. But wait. Mustn't tell.

It all hinges on moral ambiguity--people who used to be bad, who still are bad, or who turn bad, and getting trapped in your lies. There are some questionable details, especially at the end. Mortimer, usually a supporting actor, has depth and a central role here. Kingsley is as good as ever. Unfortunately the character of Roy is bland and conventional, Abby silent, Carlos more a smile and a sexy body than a personality. But the milieu itself is the richest character, and the too little known Brad Anderson, who made Happy Accidents and The Machinist, again proves his originality with material that follows a time-honored template but with a very fresh feel that keeps you absorbed from beginning to end.

Loved this movie and wonder why it was so under-marketed. I went to see it because I actually took the Trans-Siberian train this summer and so of course this movie intrigued me. (Luckily my trip was not so eventful!) While of course the movie was more personal for me since I could really relate to a lot of the scenes about life on the train and in the stations, this movie will appeal to anyone who likes a good mystery. This movie keeps you on the edge of your seat and is really well-done. And it definitely captures the current political and social climate of Russia today. Having dealt with the border guards in Siberia (over a visa problem) I witnessed first hand the 'wild west' mentality that currently exists in that country. It may be hard for Americans to believe that the events that occur in this movie are realistic. But they are. And Woody Harrelson is a revelation. Ben Kingsley is great as always. I was not familiar with Emily Mortimer prior to this film but I will be on the lookout for her next film. It's a shame not many people will see this movie. Hopefully they'll catch it on pay per view. Highly recommended.