Dilettante's Diary

Sept 17/14

Who Do I Think I Am?
Index: Movies
Index: Writing
Index: Theatre
Index: Music
Index: Exhibitions
Artists' Blogs
Index: TV, Radio and Misc
NOVEMBER 3, 2023
Aug 2, 2023
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Apr 21, 2023
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July 26, 2022
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Nov 19, 2021
Oct 2021
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December 2020
Autumn Mysteries 2020
Aug 12/20
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Winter Reading 2016
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Oct 29/15
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Summer Reading 2015
May 19/15
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March 23/15
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Winter Reading 2015
Feb 20/15
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Highs 'N Lows of 2014
Dec 19/14
Dec 2/14
Nov 10/14
Oct 29/14
Fall Reading 2014
Sept 17/14
Summer Reading 2014
Aug 22/14
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July 11/14
June 16/14
May 28/14
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March 21, 2014
March 13/14
Feb 11/14
Sept 23/13
Favourite Works: 2004-2013
Two Novels by BARBARA PYM
Sabbath's Theater by PHILIP ROTH
July 18/13
Summer Reading 2013
June 19/13
May 30/13
Spring Reading 2013
May 10/13
Apr 18/13
Mar 29/13
March 14, 2013
The Artist Project 2013
Feb 25/13
Winter Reading 2013
Feb 7/13
Jan 22/13
Jan 12/13
A Toast to 2012
Dec 19/12
Dec 16/12
Dec 4/12
Fall Reading 2012
Nov 17/12
Nov 6/12
Art Toronto 2012
Oct 23/12
Oct 4/12
Sept 28/12
Summer Reading 2012
Aug 26/12
Aug 8/12
Toronto Outdoor Art Exhibition 2012
July 14/12
June 28/12
May 27/12
May 20/12
May 4/12
La Traviata: Met's Live HD Version
Apr 21/12
Apr 6/12
Mar 22/12
Mar 9/12
The Artist Project 2012
Academy Awards Show 2012
Feb 26/12
Feb 11/12
Jan 23/12
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Dec 20/11
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Nov 18/11
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Art Toronto 2011
Oct 22/11
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Sept 30, 2011
Summer Reading 2011
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July 28, 2011
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TOAE 2011
June 25/11
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Toronto Art Expo 2011
Apr 11/11
March 24/11
The Artist Project 2011
March 11/11
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Dec 21/10
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Fall Reading 2010
Oct 22/10
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Aug 9/10
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TOAE 2010
July 16/10
The Shack
June 27/10
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April 17/10
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Mar 17/10
The Artist Project 2010
Toronto Art Expo 2010
Feb 22/10
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Notables of '09
Jan 11/10
Dec 31/09
Dec 17/09
How Fiction Works
Nov 24/09
Sex for Saints
Nov 11/09
Oct 22/09
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Sept 18/09
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July 31/09
July 17/09
Toronto Outdoor Art Exhibition 2009
Toronto Fringe 2009
Zen Wrapped In Karma Dipped In Chocolate
June 28/09
June 6/09
Myriad Mysteries 2009
May 10/09
CBC Radio -- "The New Two"
April 14/09
March 24/09
Toronto Art Expo '09
March 1/09
The Jesus Sayings
Feb 8/09
Jan 26/09
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Stand-outs of 2008
Dec 24/08
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Sept 5/08
July 21/08
Toronto Outdoor Art Exhibition 08
July 5/08
June 23/08
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Head to Head
Feb 26/08
Feb 13/08
Jan 30/08
Jan 17/08
Notables of 2007
Dec 30/07
Dec 8/07
Nov 22/07
Oct 25/07
Oct 4/07
Sept 18/07
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Summer Mysteries '07
July 20/07
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Toronto Art Expo 2007
March 8/07
Feb 16/07
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Notables of 2006
Dec 27/06
December 11/06
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October 14/06
Sept 22/06
Ring Psycho (Wagner on CBC Radio)
Sept 6/06
August 12/06
July 18/06
June 27/06
June 9/06
May 23/06
Me In Manhattan
May 2/06
April 12/06
March 17/06
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Feb 16/06
Feb 1/06
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Dec 31/05
Dec 12/05
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Me and the Jays
July 10/05
June 15/05
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April 27/05
April 18/05
April 8/05
March 21/05
Feb 28/05
Feb 21/05
Feb 4/05
Jan 28/05
Jan 19/05
Jan 5/05
About Me
Dec 20/04
Dec 5/04
OTHER STUFF: Art Exhibitions, Concerts, etc.

The date that appears above is the date of the most recent reviews. As new reviews are added, the date will change accordingly. The new reviews will appear towards the top of the page and the older ones will move further down. When the page is closed, the items will be archived according to the final date on the page.

Reviewed here: A Most Wanted Man (Movie)

A Most Wanted Man (Movie) script by Andrew Bovell; based on the novel by John le Carr; directed by Anton Corbijn; starring Philip Seymour Hoffman, Rachel McAdams, Grigoriy Dobrygin, Homayoan Ershadi, Mehdi Dehbi, Nina Hoss, Robin Wright, Willem Dafoe.

The obvious reason for seeing this movie is that it’s the final performance of one of the great actors of our time: Philip Seymour Hoffman. But is there any other reason?

Perhaps....if you’re keen on spy/thriller movies.

In this one, Gnther Bachmann (Mr. Hoffman) is tracking Issa Karpov (Grigoriy Dobrygin), a suspected Islamic terrorist, who has roots in Russia and Chechnya, and who has arrived in Hamburg. Gnther and his team suspect that Issa has come to town to access a fortune left in a Hamburg bank by his deceased father. Presumably, Issa is going to funnel the funds to terrorist groups through a high profile Muslim (Homayoan Ershadi) who makes a big show of rounding up money for worldwide charities but who, Gnther believes, is siphoning off large amounts of the charitable donations and directing them to terrorist causes. Because the genre demands that there be pressure on our hero, both the Americans and the Germans are insisting that Gnther hand over Issa before he sets off a bomb in Hamburg. But Gnther insists that he has to allow Issa to conclude the handover of the money and thus to provide the required proof of the terrorist connection.

The movie has all the trappings you expect from this kind of thing. For the first half hour, hardly any scene lasts more than 30 seconds. Enigmatic tidbits are being thrown at you so fast that it’s hard to get your bearings. People are always talking in an ominous way about the anonymous "They," as in: "They are watching you." Characters utter cryptic comments like: "What’s to stop me from walking away from this, whatever this is?" The photography and art direction establish a film noir-ish atmosphere. Settings ranging from the ultra-modern villas and office buildings to the dingiest of bars and dives. The design rises to the heights of actual video art in some scenes that take place in an apartment that’s being renovated. The characters step through openings in sheets of plastic hanging from the ceiling and wander around the desolate premises like characters in a Samuel Beckett play.

Before long, you begin to twig to the movie’s association with a novel. That’s because it’s so tightly structured, not to say contrived; it doesn’t evolve in the more spontaneous, organic way that a movie does when it’s entirely original. It’s no surprise, then, when you find out, eventually, that A Most Wanted Man is based on the novel by John LeCarr. I wonder what an author like him thinks about the way music is used to bring his work to the screen. In this case, the music – although extremely effective and impressive – is so intrusive that I kept wondering what it would be like for somebody to watch the movie without having their emotions manipulated by the music almost more than by any other element in the film. Whether by music or other means, the filmmakers do manage to build terrific suspense towards the end of the movie – which is all the more astounding considering the fact that, in the final scenes, we’re not facing a life-and-death situation; it’s only about the signing of a piece of paper.

Although you don’t expect much insight or depth from a movie like this, a couple of scenes offer glimpses of human interaction that are surprisingly touching. In one scene, Gnther is giving a pep talk to a young Muslim (Mehdi Dehbi) who has been acting as an informer for him but who now has cold feet and wants out of the game. They’re conferring on the back deck of a ferry that’s crossing the harbour. Mr. Hoffman grabs the young guy in a bear hug and speaks directly into his ear. It’s so startling that you think something huge is going to happen: one of them is going to get shot or stabbed. Or is Mr. Hoffman going to kiss the guy? No, it’s just an intimate moment where an older guy is employing his whole being in order to convey his need of the younger guy.

The other sensitive moment comes when Issa is playing chess with a young lawyer (Rachel McAdams) who has been trying to represent him as a legitimate refugee claimant. Up to this point, we have seen Issa as a strict, sober and reticent Muslim. He hardly ever looks anybody in the eye. But now he starts telling the lawyer about his ghastly family history. Tenderness is in the air. He gets up and comes towards her. You’re thinking: ok, this is where the sex comes in. But no, he simply crouches down and awkwardly nuzzles her chest. He may be crying but it’s hard to tell. It lasts for a couple of seconds, then its over. So much revealed, so simply!

Strange to say, we never do find out much about how Gnther’s team fits into the law enforcement picture. They work in what looks like a makeshift office hidden in some warehouse. He says at one point that his team does not officially exist because their spying – which involves a certain amount of judicious abduction – is illegal. So who is funding their operation? Nor do we ever find out much about Gnther as a person. It strikes me as rather unusual to watch a movie in which the central character remains pretty much a mystery. Or is this a convention of spy movies? Or of John LeCarr novels? Part of the puzzle, for me, had to do with his accent. He sounded like a European, not necessarily German, who had learned English from a Welshman. Richard Burton, maybe? Mr. Hoffman looks bloated and fed up, which works well for the character of Gnther. Given what we sadly know of Mr. Hoffman’s fate, it’s hard not to read into this performance a kind of farewell. Just once or twice, he lets slip a wry smirk that seems to say: it’s all pretty ridiculous, isn’t it?



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