An American Affair

These days it's rare to come across a finely crafted film that plays every character -- and literally every moment of every scene -- with an uncompromising integrity. Instead of the usual attempt to make a marketable product that pulls the right demographic -- or pushes everyone's buttons -- or simply puts as many of the masses into the seats as possible, writer Alex Metcalf and director William Olsson follow their very resonant characters into the story generated quite naturally by these delicately entangled lives. Yes, there are elements of "coming of age", of "cloak and dagger", of "erotic thriller", etc. -- but it isn't really any of those. Like all really outstanding motion pictures, this film belongs to itself -- is its own category.

Setting fictional characters into a piece of well-known history is in itself a major film-making challenge and not without its pitfalls. But there isn't a single false step here as Olsson juggles fact and fiction with seamless precision, managing to keep all the balls in the air. "An American Affair' is a quiet movie ... taking its time ... allowing you savor every sweet and sour moment. The music is minimal -- yet superbly appropriate and authentic to period. Never showy, the thoughtful camera work serves the characters and content very, very well.

The performances are uniformly excellent -- with Gretchen Mol turning in a truly memorable tour-de-force portrayal of this complex, conflicted young woman. The erotic scenes are never overplayed -- they're tangible -- real. This is genuine eroticism -- not the showbiz kind. She plays the total woman at all times and yet retains that elusive air ... a lingering mystique. Can we -- can anyone -- really know her? We savor each tiny revelation that emerges through her many moods -- playful, seductive, cynical, childlike, creative, materialistic, conscientious, free-spirited, controlling, generous, vulnerable, self-serving. Mol plays every resonant note to absolute perfection and it's the key to making this film so unforgettable.

This is the kind of movie that stays with you long after the lights come up. Hard to believe it's Olsson's first feature length film -- and it's made in the English language for North America's convenience! We have a lot to look forward to from this wonderful new addition to the world's motion picture auteurs.

(2009) An American Affair DRAMA/ INTRIGUE

Co-produced and directed by William Olsson, that has Cameron Bright starring as a precocious 13 year old boy who often witnesses the doings of his floozy/scandalous female neighbor played by Gretchen Mol as she plays Catherine, and her role during the assassination of JFK etc... This is nothing more than a pure 'what if' film coming from the point-of-view of a 13 year old, which the film indicates that their might've been more than what people know about the assassination of JFK- which is pure horse crap. And some of the movie was just an excuse to get Mol naked!

It's my own fault - I suppose I should have read the description better when I picked this out. Kennedy - pretty girl - CIA - suspense. No. It's a pubescent boy - sweaty and horny. I think the appeal of "coming of age" movies about teenage boys must be limited to the grown up teenage boys who make them. Seriously - who wants to watch a movie about a boy peeping at his neighbor and masturbating in the bathroom? What does that have to do with Kennedy and the pretty girl and the CIA?

COA=Coming of Age. It's a set and somewhat stilted genre by now, and _An American Affair_ does little to change that. Young Adam Stafford is isolated in the all-too-predictable World He Never Made: parochial school, iconic period parents cloaked in gray clothes and rote emotions, and females constantly pushing him away for no clear reason. We get the sense Adam's supposed to be Somehow Special - maybe because he's an only child, maybe because he's the big-eyed, callow, Pure Boy - but he's really just inert, a force to be acted upon by the grown-up world.

Gretchen Mol's Catherine is really the only flame of real humanity in the film, the only one not acting out a role of someone acting out a role. The actor who brought Betty Page back to life a few years ago had matured fascinatingly since her days as a pretty bauble. Now we see her without the black wig and fetish gear, and she's a real presence. Her role as Sexy Bourgeoise Bohemienne is contrived - cool jazz, drugs, and a patently silly finger-paint ballet with Adam - but she has a genuine emotional vulnerability that most of the film lacks.

The subplot of neighbor Catherine's involvement with Jack Kennedy - who apparently will talk to the CIA only through her - is not well integrated. As a result, it feels obligatory, as if it's there to beef up the COA story (and perhaps add a little commercial zing). It does provide a counter-irritant to Catherine's sensuality in Lucien and Catherine's ex Graham, the Agency men easily reduced to masculine role-icons. Lucien is so buttoned up he seems almost deliberately awkward, and Graham taking what we're supposed to believe are the only outlets from his masculine role - drinking and rage towards Catherine.

Director Olsson is, of course, working with archetypes - Cold War Washington folk - but he never lets them get beyond their icon status. Particularly telling is his handling of the JFK assassination moment - the parochial school kids left to stand pointlessly in line as all the sisters gather at the television. The news is spread only by Adam, the special boy, who whispers to the pupils - and a silent overhead shot as they scatter like birds in a Paris park. Again, a dance of roles and distance, too stylized by half.

Here's a hint, Mr. Olsson: Camelot wasn't so long ago that you have to play it as somber as a medieval allegory. (What does it say that _The Tudors_ had more men in crew cuts than your vision of 1963?) People - CIA men maybe excepted - did approach one another as people, and European directors often miss that American ease. Ironically, that same ease was what made John Fitzgerald Kennedy so irresistible - not just to his many feminine liaisons, but to his country and the world.

Apart from how boring this was, it was also historically inaccurate (apart from Kennedy's assassination), but even still, setting this during that time frame is somewhat distracting.

The main plot is generic, recycled and unrealistic to say the least. What are the chances of this kid actually coming across all the events that happen in this story? Not bloody likely.

Still, though, there were a couple good scenes (the ending was surprisingly good), but just not enough to save a mediocre film. Mediocre, but watchable at least. I'd be more willing to give this a three and a half, but unfortunately I have to pick either three or four here on IMDb...so I'm leaning more towards a three.