O Alfaiate do Panamá

The combined efforts of Geoffrey Rush's and Pierce Brosnan's acting ability, combined with John Boorman's directing skill, and John Le Carre's frightening talent as a writer of spy fiction, make The Tailor Of Panama one of the best of all time, and the best of this century.

Harry Pendel(Geoffrey Rush), tailor to royalty, is one of many members of Panamanian High Society, and a proud partner of Pendel & Braithwate. Atleast, that is the man his friends know. Harry is actually the nephew of a British tailor, a former prisoner thanks to his Uncle Benny's insurance scam, thousands of dollars in debt, and, against his will, a Spy for Her Majesty. Andrew Osnard(Pierce Brosnan), is MI6's man in Panama, and the delivery boy of the death of Harry's well lived lie.

In exchange for the money harry has to provide information. Unfortunately the old promises of drunken, one-time revolutionaries just isn't enough. So using his inherited "Fluency" and his "Rock of Eye", as his Uncle Benny put it, he creates a stream of lies, but the boys back home buy it, and Harry has to choose between Panama, or his good name.

Also starring Jamie Lee Curtis, and the lawyer off of Jurassic Park, this movie is a modern classic, both in print and on film. WATCH IT!!!!!!

In `The Tailor of Panama,' Pierce Brosnan plays a sort of evil version of his James Bond persona, a womanizing British spy more concerned with his own personal aggrandizement than with duty to queen and crown and all those virtues we, parochially, tend to think of as uniquely `Western' - virtues like liberty, freedom and democracy.

Based on John Le Carre's novel of the same name, `The Tailor of Panama' is not quite so positive in its assessment of the West's innate benevolence. It is, in fact, an attack on the evils of the modern nation-building process, wherein developed countries like the United States and Great Britain engage in all sorts of covert skullduggery in an effort to protect their own strategic interests in the Third World community. If this involves propping up or installing immoral regimes - or toppling potentially moral ones - that, as Le Carre sees it, is all part of the game we naively call `international diplomacy.'

The setting of the film is Panama City right after the takeover of the canal by the Panamanians. Fearful that its interests might soon be threatened, the British government sends one of its own secret agents, Andy Osnard, to ferret out some British citizen who may have contacts with the authorities in the city and may, therefore, be privy to information pertinent to their concerns. Andy alights on Harry Pendel, a good-natured, idealistic tailor who does, indeed, seem to have some entree with the higher-ups in the local government. Harry also happens to be married to Louisa (Jamie Lee Curtis), who actually works supervising the canal, so, of course, Harry can be quite an informative source of information if he happens to put his mind to it. Andy, knowing that Harry has a few major debts to pay off, moves in for the kill and engages Harry's efforts. The only problem is that Harry, beyond being impeccably moral, also loves to spin a fantastic yarn or two, and Andy has to figure out whether the information Harry is feeding him is really the truth or just the product of an overactive imagination.

The complexity of the plotting works both for and against the film. On the one hand, the audience has a fun time following the narrative along its complicated mazelike path, meeting interesting people and visiting unusual sites along the way. Moreover, we are afforded a fascinating glimpse into the sleazy world of backstage nation-building in a so-called `Banana Republic.' On the other hand, we often find ourselves a bit confused as to the why and wherefore of many of the actions, and, far worse, the movie never establishes enough of a quality of credibility to make us believe it all. This is certainly the case in the film's final stretches when the too-easily duped U.S. and British governments launch an all-out attack on the city based on only the flimsiest of evidence. Yet, perhaps, that is Le Carre (and director John Boorman's) thesis: that such takeovers are often rooted in causes that are circumstantial, prefabricated or totally beside the point. If this is the case, both the writer and the director have failed to create the tone necessary to pull off such a sophisticated idea. For, although there are flashes of sharp humor shot throughout the entire film, the general ambience is never far-out and witty enough for us to classify the work as satirical. As a result, the final scenes seem somehow more silly than provocative.

This is not, however, to suggest that `The Tailor of Panama' is not a worthwhile and interesting film. In fact, it succeeds almost on the strength of its performances alone. Brosnan does a superb job poking fun at his signature spy persona, as he utilizes his trademark suavity to get exactly what he wants - be it information, a load of cash, or a roll in the hay with a gorgeous female companion. As the title character, Geoffrey Rush delivers yet another outstanding performance, somehow managing to make Harry seem both incredibly weak and amazingly strong at the same time. In fact, Rush, quite literally, carries this film, earning the audience's sympathy from beginning to end. Curtis turns in her usual fine performance, although her role seems a bit undernourished compared to those of the two male leads.

`The Tailor of Panama,' although ultimately unsatisfying, comes pretty damn close to being a worthwhile success.

If you understand irony, this film should be a real riotous laugh straight through. It is possibly one of the most brilliant movies so far this millennium, outright disrespectful of the "spy" theme: Brosnan's degenerated, decadent b*****d spy Osnard is just the way one would picture James Bond in real life, had the latter not been so awfully loyal. Actually, Osnard is James Bond minus loyalty and with his self-confidence, decadence and sexism turned up a couple of notches. A brilliant character, brilliantly acted. Another fantastic actor is the amazing Geoffrey Rush in the role as the Tailor of Panama, Harry Pendel.

The story is absolutely fascinating, one of the most clever and witty stories to emerge in a long while - the Tailor of Panama reluctantly becomes a spy and conjures up non-existent government plots to sell the Panama Canal to the Chinese, which makes the English and the Americans (portrayed as a bunch of idiots with delusions of grandeur and as militaristic blow-hards with victory as the only goal) react aggressively.

It is important that one understands that this film is serious in one respect only: its comedy. Don't see this expecting to see a thrilling spy-movie. It isn't, though I find the scope of the film thrilling. It's more of a comedy, and if you can't see that when the American general with tears in his eyes blurts: "There is a star missing from the American flag!", then you're not really equipped for this kind of film. The reason I'm writing this is that some reviewers have found the movie to be silly... which is just what one would think if one didn't get it.

Brilliant. Just brilliant.

How nice to see Pierce Brosnan as a rotter. Without the man-tan make up, you can actually see his freckles.

A co-production of the Irish government and Columbia Pictures, The Tailor of Panama is an old-fashioned British espionage film that is Euro-light on the violence and silhouette-discreet on the sex. No skitzy MTV editing and no hip hop trendy hits. Which may be heaven for some and limbo for others.

Starring along with the current James Bond is Geoffrey Rush and Jamie Lee Curtis. Pierce is still handsome as hell and he's still a spy. This time he's been exiled to Central America to cool his heels. Overly ambitious, he latches on to local tailor to the rich and powerful and starts to squeeze him for information becoming more ruthless and despicable with every turn. The colorful Rush obliges him with making stuff up and this leads to all kinds of intrigue. Jamie Lee reprises her wife-who-doesn't-know-her-husband-is-a-spy role that she did in True Lies, but without the little black dress. The humor is very dark and very British. The plot is reminiscent of the 1960 Alec Guinness-Ernie Kovacs gem, Our Man in Havana, an early spoof of the Bond saga.

Tailor is taken from the '96 Le Carré novel of the same name. John the spymaster shares screenplay credit along with Andrew Davies and the veddy British director John Boorman, most famous for Deliverance. Yes, this is the man responsible for Dueling Banjos. Receiving Acad noms for directing Hope and Glory and the Banjo movie, he also has a producing credit here.

This is the first film done on location in Panama so the look is fresh and it's beautifully shot by veteran, Phillipe Rousselot who is currently working on Planet of the Apes.

This film is getting almost no hype and no promotion. Again, it's very low key with no gunfire, car chases or blood. The politics of Panama are in the forefront with more than one reference to the 'Frankenstein' Noriega and how he was set him up by CIA Head, George the First, Bush that is. Ah hem.

There are some splendid character actors in the supporting cast like John Polito of TV's Homicide and Martin Ferraro of TV's Miami Vice. Playwright Harold Pinter is in the strangest cameo role you may see this year. Scoop du Jour: in the role of the Tailor's son, we get a look and the kid who will star in the Harry Potter film, Daniel Radcliffe.

There is some stock footage of the political unrest and references to the thoroughly corrupt Central American government with lines from the Tailor like, 'you know what the poor call those?' pointing to the city's skyline, 'Cocaine towers! And the 85 banks? Launderettes!' You can easily understand why the media isn't getting behind this thing. But then again Traffic didn't win best picture, Gladiator did.

It's too bad about the low IMDB rating for this movie. It is a deft blend of James Bond, Casablanca and Dr Strangelove which directs its often vicious tongue-in-cheek barbs at both the intelligence industry and the spy films which glorify it. While it can be enjoyed "straight", that is as a story in its own right, I think those who miss its satirical structure (the film doesn't directly let the audience in on the joke - it must be inferred), miss half the fun.