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Spy Game (2001) Universal Pictures 2 hrs. 7 mins. Starring: Robert Redford, Brad Pitt, and Catherine McCormack. Directed by: Tony Scott Spy Game Rating:  
E-MAIL GIANCARLO DE LISI Simplicity and chronology are two concepts of film that if well used, can revolutionize a film. On the other hand, if they are misused, they can create a dilemma. In watching ‘Spy Game’, the dilemma which arose, was that of either enjoying the film for what it was, or critiquing the film for what it wanted to be. Director Tony Scott has brought is some truly great films such as ‘Top Gun’, ‘True Romance’ and ‘Enemy of the State’. In this film, his most ambitious film to date, he weaves an intricate, complex and seamless mix between the present and the past. ‘Spy Game’ is told in a series of flashbacks that seem to progressively obtain length as the film moves. Yet, some may say that the film moves very slowly. Robert Redford stars as a CIA operative Nathan Muir who in his earlier years recruited, trained and created his protégé, Tom Bishop, played by Brad Pitt. The movie is set in the present and retells their encounters and now that the Chinese hold Bishop captive for espionage and a likely execution, Muir does everything in his power to set him free. The catch is – Muir is on the brink of retirement and is almost helpless to save his young ‘Boy Scout’. There is much more to the film than this simple synopsis, yet the rest is entailed in complex issues, unrealistic CIA access scenes (e.g. the authoritative forged document) and overused ‘speed up’ shots that try to set up a scene yet serve as nothing more than a repetitive and tiresome editing technique. The film’s concept is quite ingenious, yet the manner in which it is presented may to some be quite irreverent. We have a film here that attempts to be something, which it is not. The film’s greatest weakness is the storytelling. It complicates a simple premise and bogs it down in flashbacks and a slow second act, which merely serves to set up the climax by placing both our characters in turbulent situations. While Bishop has only a couple of hours left until his execution, Muir is held by the CIA in order to answer questions relating to Bishop’s captivity and Muir himself must scramble and orchestrate Bishop’s rescue. The film remains tight and tense, especially with Scott’s still frame shots counting down the hours left until Bishop’s execution. Furthermore, Scott likes capturing elevated scenes with a helicopter using a ‘Wes Cam’ shooting style that has our characters as the centerpiece in the frame while the camera speeds up and revolves 360 degrees in a manic manner. That said, it is a well-made film that has some great moments and some truly terrific acting. Brad Pitt seems to be maturing as an actor and is slowly creeping away from his ‘studly’ image by coupling himself with some great actors and engaging himself in some great roles that display both his charm and his acting range. As for Redford, he seems to enjoy playing a ‘know it all spy’ who can outwit and outlast his oppressors as they seek for answers. Pitt and Redford are fantastic together, and although they do not share as much screen time, as one would expect, when they do, it is well worth it. The direction of the film is quite MTV – like and Scott (Director Ridley Scott’s brother) is quite familiar with this style. He employs some techniques brought forward in ‘Enemy of the State’ and he certainly knows how to make a film tense, even when it is not supposed to be. As aforementioned in the introduction, there was only problem when viewing the film. Should one rate this film for what it was, or what it attempted to be? Unfortunately, one must look at what was presented and not what could have been. ‘Spy Game’ tries hard to be a different kind of spy film. It is not a full throttle action film, nor a thriller, nor a drama. It is a combination of all three that seems to be all over the place and cannot be content on settling into one genre. Furthermore, it relies on a romantic subplot that pits Pitt against choosing his job, or his love. Also, as mentioned earlier, the storytelling is quite demanding that will bog down this film in key times. Yet, it still is a fresh piece of film that will retain one’s attention if not for the acting, its’ visceral visual style that is reminiscent of Steven Soderbergh’s ‘Traffic’. Upon the flashback sequences, a beige, sandy tint is employed to differentiate between the present and the past. Also, during the war sequences in several war torn countries during the retelling, a natural and un-glamorized perspective is presented through its grainy look and raw editing. And who can forget Scott’s classic slanted angle shots during the climax in CIA headquarters further reminiscent of his ‘Crimson Tide’ climactic sequences. It is evident that Scott presents us with nothing new except for a stylized story telling technique that unfortunately deters the film rather than ultimately saving it. Click here to comment on this review or post your own thoughts. Giancarlo De Lisi © TheWorldJournal.com |
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