La spia - A Most Wanted Man

Greetings again from the darkness. If you aren't an avid reader of John le Carre' spy novels, perhaps you've seen movie versions such as Tinker Tailor Soldier Spy, The Constant Gardener, or The Russia House. If not, how about director Anton Corbijn's previous film The Amercian (2010 with George Clooney)? The more you've read and seen these, the more you are prepared for this latest.

Mr. le Carre' actually was part of MI5 and MI6 (British Intelligence) and uses his experience even so many years ago to provide the type of post 9/11 anti-terrorism spy thriller that doesn't focus on explosions and gun play, but rather the subtleties of communication when very smart people go up against other very smart people who may or may not share their goals. Secrets and misdirection abound. Traps are set, and sly maneuverings are pre-planned.

As if all that weren't enough, how about another mesmerizing performance from the late Philip Seymour Hoffman? He is a master at the top of his craft here. Sure, maybe the German accent is a bit distracting at first, but it was necessary because movie audiences needed a constant reminder that he is not playing an American! I cannot explain how this chain-smoking, mumbling schlub can so dominate a scene and disappear into a character, but Hoffman most certainly does both.

In addition to a very cool script, excellent support work comes from Grigor Dobrygin as Issa, the central figure in Hoffman's character's work, Willem Dafoe as a somewhat shady banker, as well as Robin Wright, Daniel Bruhl, Nina Hoss, Homayoun Ershadi, and Rainer Bock. The only miscast is Rachel McAdams as rich girl turned terrorist sympathizer.

Parts of the score were excellent - the droning, ominous piano notes. The composer was Herbert Gronemeyer, a German rock star (you'd never know from the score). This is a delicious, challenging look at international spies and how one never knows where they fall on the food chain ... minnow, barracuda, shark. http://moviereviewsfromthedark.com/

Plenty of people have already said this, but it's entirely true: 9/11 unleashed a far larger terror than just devastation to two buildings and many lives; it unleashed widespread paranoia—suspicion of the average Arab and yet another division in ideologies. Guantanamo Bay, contrary to majority belief, isn't only holding convicted terrorists but those innocent men accused of such turpitude as well. Wrongfully marking, such institutions have afforded authorities the ability to aggressively interrogate and brutally torture so much as a suspect. This is the kind of monster the culprits behind 9/11 released onto the world.

A Most Wanted Man chillingly manifests the terrifying degree to which intelligence organizations are (desperately) willing to go in order to identify their targets and extract imperative information. In this case, a man named Issa (Grigoriy Dobrygin) is that target—a former detainee of both a Russian and Turkish prison, now on the run as an innocent man who's being unjustifiably chased—and seeks the assistance of a lawyer (Rachel McAdams) to safely escape the intimidating clutches of whatever intelligence agency. The late Phillip Seymour Hoffman plays a spy who operates from a smaller, independent bureau that's significantly less forceful and antagonizing than the more powerful ones surrounding this prey, but still has its wide-open eyes fixed on Issa and the exact reason behind his illegal emigration to Hamburg, Germany as a Muslim.

As to expect from an Anton Corbijn film, this thriller is slower and more deliberate than most but yet definitely more absorbing and exciting than 2010's The American. It's also important to note that the film is an adaptation of the novel (the same title) written by John le Carré who has also authored gripping narratives like The Constant Gardner and Tinker Tailor Soldier Spy (both went on to become motion pictures as well, the former succeeding and the latter failing in my eyes). Anyway, what commences as a careful study of the crisis (numerous shots of Hoffman's character smoking in a darkly-lit vehicle and those of activity in mosques or Issa's movement around the city) quickens its pace as the stakes are finally realized and the endgame becomes clearer. From there on out, constant frustration and tension is totally expected from the audience as competing forces in the midst of the war on terror— all found in the grayer areas of principle rather than the black-and- white—vie for the upper hand.

The rest of the cast features the likes of Willem Dafoe (a banker who's connected to Issa through family friend relations), Robin Wright (a CIA agent), and Daniel Brühl (working alongside Hoffman as a computer-savvy agent). Hoffman's performance should absolutely be recognized once the end of the year approaches, again proving that he never phones it in (even when we're discussing a YA franchise like The Hunger Games). His character here is both confident in his path yet cautious at the same time, blurring our view to determine whether he's more compassionate or relentlessly unforgiving like the other agents. I also have to give props to McAdams for finally attempting something fresh at this point of her career which primarily consists of clichéd romantic comedies; herein, she doesn't have a romantic partner to latch onto for help as usual but a foreign fugitive on the brink of capture. As a result, she's smart (albeit vulnerably frightened) but only human at the same time.

In addition, the cinematography is very suiting and noteworthy—a bluish hue accompanies a substantial portion of the film as the itty-bitty details of the environment are forced to stick out (everything kept in suspense). Everything is visualized solemnly and unhurriedly, and the filmic look returns as the standard for spy thrillers. A subtle musical score gives an additional edge of anticipation to the narrative as the twists and turns emerge and the complexity of the subject matter deepens.

Now, if the climax wasn't as explosive and wholly satisfying as it was, the rest of the film in comparison would've appeared a little too meandering and eventless for most tastes. However, the subject matter and thematic material of the picture are (unfortunately) incredibly relevant in this day and age and the unpredictability of the story itself will ensue to the very last scene, therefore making this tale a mature compelling and provocative viewing of our modern world—the anguish and trepidation that has devoured us and confused our set of ethics.

The plot hardly matters here; it's only a vehicle for exploring the dirty side of intelligence work and is complicated as a Swiss watch. Maybe the NSA revelations have you thinking twice about spywork? The fact that we caught spying on our own allies, the Germans, adds a special relevance to this tale. But the real appeal here is a)LeCarre's dark, dark, dark worldview and b) Hoffman's superb acting. He just tosses this role off, and is utterly convincing. After you see this you should see the film that perfectly bookends it: LeCarre's early '60s The Spy Who Came in From the Cold. Just as gritty and dirty and with Richard Burton as Alec Leamus. Like Gunther Bachmann,Leamus was a worn-out, beat-up, used-up operative, and audiences of the time, entranced by the frivolities of James Bond, were rather shocked by the dose of reality he represented.

The final moments of Anton Corbijn's latest film A Most Wanted Man are both gratifying and poetic. Starring an impeccable cast that includes the late Philip Seymour Hoffman, Rachel McAdams, Willem Dafoe, and Robin Wright, the film is based on the novel by John le Carré, and is a tension-driven and smartly paced thriller ride that makes a mark as one of the year's best rides.

A movie that is more in the vein of an extended episode of "Homeland" than a full-out feature (which is not exactly an insult), is tightly wound, fish hooking the audience with its clever storytelling abilities. Corbijn creates a meticulous and subtle picture that unravels itself with suspense and excitement. The movie challenges the audience in attempting to follow each detail and fully understand what is going on. That might be a turn off to many. Like many of Carré's books that have been translated to film like Tinker, Tailor, Soldier, Spy and The Constant Gardener, there's an aura that exudes from the screen that you want to take home with you. There's so much to the story that happens before the film and starts and long after the movie ends but you're satisfied with that. Adapted by Andrew Bovell, the Australian screenwriter may have penned the film of his career.

The elephant in the room is the performance of Philip Seymour Hoffman. It's very hard to not want the film to end because you are very aware that this will be one of the last times you see a new film by this actor. One of the greatest actors to have ever lived, Hoffman shows exactly why his omission from our world is such a loss. Subtle, electrifying, and profoundly real, Hoffman's "Gunther Bachmann" is an intriguing force that demands the audience's attention with the simplicity of a tone or look. While the tween world waits on the arrival of the final two installments to The Hunger Games, this film felt more of his goodbye to the film community that has appreciated him for over two decades.

One of the pleasant surprises of the film is the beautiful and talented Rachel McAdams, which immediately makes you think, "where has she been?"

While she has been making her rounds in independent films like Passion, About Time, and To the Wonder, her role as "Annabel" shows a deeper talent that is aching to be realized by the right director. Internalizing emotions and releasing only when called upon, McAdams turns in her one of her strongest turns yet. Not your A-typical "damsel in distress" or "unbelievable tough chick," McAdams reinvents a character that could have just laid on the screen with no emotion. She relaxes herself into the role, working well off some of the screen's most gifted performers. It's a magnificent work.

With no real arc or allowance to his character, Willem Dafoe unfortunately distracts for much of the film. Feeling like he's part of the Osborne family again, his role is rather underwritten and a bit of a mystery but not one you're aching to learn more about. Robin Wright utilizes her sensational appeal and charismatic nature to sprinkle a dash of brilliance to the film's narrative. As "Issa," Grigoriy Dobrygin keeps the viewer at a distance, never allowing his true motives to unleash. He constantly asks the viewer to question our own judgment. He is very impressive.

With a gritty yet polished aesthetic, Corbijn knows exactly how he wants his film to look and feel. Using Cinematographer Benoît Delhomme keeps the tension at the very brim of explosion. Composer Herbert Grönemeyer, who also has a role in the film as "Michael," lays out a soothing, relentless score that is both memorable and undeniable.

A Most Wanted Man is smart and precise, an espionage thriller that stands out as one of the best of its kind in quite some time. It's confident in its approach and doesn't shy away from its central purpose. It's a morality tale that engulfs your conscience with terrifying and difficult questions. I don't mind being asked them every now and again. It's one of the year's best.

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Anton Corbijn's tense, moody and brilliant adaptation of John le Carre's novel of the same name. The most fascinating aspect of this film is the fact that, the film being a spy thriller, there isn't a single shot of bullet fired; no dead bodies, no car chases, no stunts, or any such thing. Instead, it's observant, and follows our characters on their trail of a fund linked to a terror organization.

Philip Seymour Hoffman is the reason one should watch it. His character is intriguing and likable, but with this role, talented Mr. Hoffman shows us all the reasons we're going to miss him. This being his last completed film (before his death), combined with the thought-provoking ending, leaves one with a bittersweet feeling once the movie has ended. Like Hoffman himself, his character Gunter pours his heart and soul into only work he knows well. The last scene, with Hoffman's scream of despair, sent shivers down my spine; with the help of the mesmerizing final score, I was fixed to my seat till the credits rolled out. He also elevates the performances of his supporting actors, Willem Dafoe, Robin Wright and Rachel McAdams. German actors Daniel Bruhl and Kostja Ullmann, though present in the film, are not properly utilized.

After the various terror attacks around the world, many International agencies aim to curb it, but the way they get their job done differs from one agency to the other. Trying to do good is not only a difficult path in such scenarios, but often tends to be futile.