If I were a guy handsome, gallant TV happens to make millions of dollars in Hollywood movies and with the ability to do what the fuck hit me win, no doubt call me George Clooney, the type was not born with class and good taste, but certainly it has, buy it. You can not deny the guy who going to burn to superstardom with Batman and Robin learned that the guy can spend more money on her figure and interesting projects like producing either insomnia Nolan, lead a guided n Charlie Kaufman ( Confessions of a Dangerous Mind ) or your own ( Good Night and Good Luck looney. The film has action, but not action. There is a romantic catharsis, but it is not romance. Definitely not a comedy either ... The American is a film about what is called "character study" and deciciones Corbjin narratives are exquisite. How come a "character study"? In a formula inquiring level this is achieved, following him and observing how you react to certain situations. The trick in the case of The American character is that it investigates, monitors and correlates in a personal way, people really show us as we are onlyin two circumstances, "under pressure" (as Bowie and Mercury) and the other is when no one sees us when we're all alone with our wide doing and thinking without any company. Corbjin establishes her character and to study its dramatic catharsis by not giving any account of what is happening on screen (exposure is when a character or title, or narrator explains what happens: "I'm in danger because blah, blah, blah" "I want to change my life because blah blah"): just follow the operational ritual murderer and you have to take into account the clarity of what happens, and this pel & iacute; narracióny Cula the sequence of events is crystalline while the interpretation of Clooney says more in its economic expression in dialogue that would make redundant just what happens to your character. To some extent
The American it seems like a kind of remake of Le Samourai , Henry Melville French classic which is still operating exposure rituals of a hired murderer named Jeff Costello (played by Alain Delon, another suitor of his time) and where the story contrasts the effects of his lifestyle when he finds a variable that throws offritual, and therefore, we will clearly death. Understanding the ritual as unbreakable rules of business. The same happens in this film, where solitary lifestyle and quasi-professional depressing a murderer kept alive until he takes for socializing, with deadly consequences. No one is a professional murderer decent film if you change your habits for a sentimental mercenary paternal / pedophile (Leon in The Professional
), paternalism (Tony Monatana in
Scarface), pseudo ( Vincent Vega and his preference for reading in the bathroom at work in Pulp Ficition ) or romantic, as it happens to Jeff Costello or Jack/ Edward de Clooney. Perhaps the only exception, and the guy was intelegente is Julian Temple in The Matador .
Finally, American The film is not suitable for all audiences, is one of those who claim made by artists for artists consumer ... relaxed and to enjoy whiskito in hand. Righteous.
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