A Assassina

Being a remake of Luc Besson's "Nikita" (1990), this is quite an average hollywood remake of a very interesting french movie. The french original is much better in terms of direction and story, but Bridget Fonda's acting is marvellous, outstanding and considerably better than her french counterpart's in "Nikita". And this is exactly the reason to watch this movie, Fonda's performance is a thing you should definitely not miss.

"Point of No Return", or "The Assassin" as it is known here in Britain, is, of course, a remake of Luc Besson's French thriller "Nikita", and keeps closely to the plot of the original, although the action is transferred from France to America. Some of the names, such as Victor or Amande/Amanda, are the same as, or very close to, those used in the original film, although the name of the main character is changed from Nikita to Maggie. (Besson had, for reasons best known to himself, given his heroine a masculine Russian Christian name).

Like Nikita, Maggie is a criminal and drug addict who murders a policeman during a raid on a pharmacy, a crime for which she is sentenced to death. The sentence is, apparently, carried out soon after the trial, but in reality Maggie's life is spared. (The film-makers ignore the fact that in America any death sentence is automatically subject to a lengthy series of appeals and reviews; in California, where the film is set, only thirteen people, out of nearly seven hundred sentenced to death, have been executed during the last thirty years). She is given the option of being trained to work for the Government as a professional assassin; if she refuses she will be killed and buried beneath the tombstone which already bears her name.

Roger Ebert compares Maggie to a modern-day Eliza Dolittle, the heroine of Shaw's "Pygmalion". This may seem an odd comparison, given the nature of the work Maggie is being trained to do, but it is in fact an apt one. The modern assassin must master not only martial arts, weapons skills and computer technology but also such matters as deportment, polite conversation, fine dining and the art of looking beautiful. The rationale is presumably that, as Maggie may be called upon to kill members of America's high society, she needs to know how to behave in their company. The tuition she receives is obviously effective; Maggie enters her charm school with the social graces of an alley-cat and leaves with those of a débutante. For all her poise and glamour, however, she also has the skills of a ruthless killer.

The Government resettle Maggie in Venice Beach where she poses, under an assumed name, as an IT consultant and finds a boyfriend. Occasionally, however, she is called upon to take out a target whom the Government want dead, either by delivering a bomb to their hotel room or shooting them dead in the street. At first she is happy to go along with their instructions, but begins to develop a conscience about what she is doing, and wants to leave her job.

The idea of remaking a modern foreign-language film in English and with an American setting was anathema to many purists, particularly to those (on both sides of the Atlantic) who see Europe as the home of High Culture and America as a land of vulgar Philistines who are too lazy to bother with reading subtitles. This, however, was a view which I found unfair, as "Nikita" did not lose much, if anything, in translation when it was remade. Contrary to what some might think, not every French or European film is an art-house classic; Besson's was a commercial thriller which was itself influenced by American models, especially neo-noir. Film noir, as the name might suggest, has always been appreciated in the French cinema; the influence of Besson's model on John Badham's film might be seen as France's repayment of its debt to America.

Moreover, "The Assassin" has many virtues in its own right. It makes effective use of music; there is a memorable score from Hans Zimmer, possibly influenced by David Hentschel's music for "Educating Rita". The soundtrack also features several songs by Nina Simone, a particular passion of Maggie's. (This seemed a rather conservative taste for a young woman of her generation, but the explanation is that Maggie's enthusiasm derives from her mother).

Bridget Fonda (who has clearly inherited the classic good looks of her Auntie Jane) is very good as the heroine, both as the anti-social rebel of the early scenes and the sophisticated, seductive young lady of the later ones. There are effective cameos from Anne Bancroft as Amanda, Maggie's tutor in the social arts, and from Harvey Keitel as Victor the Cleaner, the ruthless, deadpan killer called in to "clean up" when one of her jobs unexpectedly goes wrong. There is a larger contribution from Gabriel Byrne as Maggie's handler, Bob, a key role as the relationship between the two is a complicated one. At first Bob is only able to handle her by making veiled (and sometimes open) threats about what will happen if she does not co-operate, but later he grows close to her, almost like a substitute father. (She passes him off to her boyfriend as her uncle). He is sympathetic to her desire to leave her job, but his hands are tied by the attitude of his superiors.

As a thriller, "The Assassin" is a fast-paced and exciting one, but it may also have a deeper significance as a critique of the death penalty. Maggie's development parallels that of Burt Lancaster's character Robert Stroud in "The Birdman of Alcatraz", who also starts off as a vicious, conscienceless killer and gradually grows in humanity There is an obvious irony in the fact that she is sentenced to death for murder and that her life is then spared so that she may commit further murders on behalf of the State that has sentenced her. The further irony is that it is her career as an assassin which teaches her the value of human life. 7/10

This movie is pretty much a shot-for-shot remake of the French film "La Femme Nikita" by Luc Besson. I'll say right off the bat that I strongly suggest watching that one instead, since they are virtually indistinguishable but this one is just a clone, a (not so cheap) imitation.

As with many foreign films that are remade for American audiences (like "Let the Right One In," "Funny Games," or "Infernal Affairs"), I'm often left feeling hollow after viewing both versions. The original was, well, original, which is why it gained international acclaim at the time, opening doors to Luc Besson for productions like "Leon" and "The Fifth Element." With this Americanized repeat, there's nothing added, no extra twist, no real reason to remake a perfectly good first film, other than the fact that Americans don't like to read subtitles. It's no wonder Luc Besson refused the offer to direct; seems pretty boring for an artist to make the exact same movie again within five years of the first.

Don't get me wrong, it's a perfectly watchable film, but I'm not liable to give it any credit beyond that since the whole thing was lifted from a movie made only a few years before this. Bridget Fonda is solid, and makes the transition from despicable junkie to government assassin pretty believable. Gabriel Byrne, of course, does well in his role, but I think this character has a very limited range compared to that of which he is capable. Dermot Mulroney is easy on the eyes but his character is not particularly memorable.

Good action, a little romance, and Bridget Fonda kicking ass. Plus a small role for Harvey Keitel at his peak, fresh off of "Reservoir Dogs" and "Bad Lieutenant." The shootouts are pretty par for the 90's, with squibs exploding everywhere and the usual shots of the protagonist diving through the air in slow motion. At the time, the role-reversal of having a female spy/assassin as the lead was pretty unique, but nowadays, of course, that is not so uncommon at all.

Summary: totally watchable, but totally unnecessary.

Yes, it's a bad remake of La Femme Nikita--yes, it's overly violent and amoral (but so was the original)--yes, it's REALLY stupid, but I enjoyed it. It moves quickly, Fonda manages to give out a pretty good performance and it's certainly never boring. If you can turn off your brain, and sit through bursts of graphic violence (and a really sick sequence involving Harvey Keitel as "The Cleaner") you should be able to enjoy it. No great movie, just a really good bad movie. Critics predictably hated this movie. There's a now infamous review from the "New Yorker" magazine that's only 9 words long--"The end of French cinema as we know it." Ignore them--this is lots of fun.

I've never seen the French film, Nikita, on which this is based, but it sounds superb. What drew me into this film was the presentation of the story, which focuses less on her as a professional killer and more on her humanity. In the French film, Nikita looks very forceful and aggressive. Fonda in "Point" seems more sensitive and feminine. I'm just going to have to see the French one. I'm not easy to impress and this film drew me in. Nikita must be awesome.

BRIDGET FONDA has a face one can just stare at for hours. It's a restrained performance. She plays a very conflicted character full of paradox. A proposal from her lover cause tears to well up in her eyes as she peers down the scope of her rifle at her latest target. She manages to keep a straight face when her friend is killed in front of her. She even manages a smile and says, "I never did mind about the little things." Fonda has such talent that she's able to portray pure calm with every muscle in her face while her eyes swim in terror and heartbreak.

HARVEY KEITEL is Victor, the Cleaner. His face is a stone. No smiles, frowns, or grimaces. He is heartless and emotionless. As he kills, his face remains stone cold. He says no unnecessary words. His answers are short, to the point. Superb. His performance is understated brilliance.

GABRIEL BYRNE has a knack for making his characters believable. He's harsh, yet sympathetic. He alone makes this movie worth watching.