The Tourist

Well that was boring. I'm sorry if I gave away the reveal of this review too early, but I'm afraid there isn't a whole lot else to say about this disappointing excuse for a thriller. Spy movies can be formulaic and still work, but at least some level of originality is required. It really doesn't matter whether that originality grows out of an interesting character study, a twisty-turny plot full of unseen surprises, or inventive and well choreographed action set pieces. Preferably it includes all of the above, but I'm not greedy. A movie can be full of cliches and well worn plot points if it provides the viewer with something new. Unfortunately, and despite a great deal of talent, Florian Henckel von Donnersmarck's new star vehicle, The Tourist, had none of the above.

The film opens with the femme fatale, Elise, leading Interpol on a wild goose chase. The police suspect her of attempting to reunite with her old flame, who also happens to be an international criminal. However, we are aware that while that is exactly what she is trying to do, Elise has also chosen a fall guy as a distraction to delay the police. The unsuspecting sap Frank falls in love with Elise (of course), and follows her through a hail of bullets and rooftop chases to an easily predictable ending. Brutal gangsters, relentless police officers, a beautiful woman, a crafty criminal, and an average Joe are all thrown together without much in the way of logic or character development.

The most surprising thing is the enormous amount of talent involved. Von Donnersmarck made his directorial feature film debut with the 2006 The Lives of Others and has been justly praised for it. Along with a bevy of critically acclaimed co-writers (including Christopher McQuarrie of The Usual Suspects), von Donnersmarck constructed a script that contained little of interest, and even less that was fresh or new.

Rufus Sewell watches Angelina Jolie in The Tourist

The elegant Elise is played by Angelina Jolie, who appears almost as if made of porcelain in this movie. Jolie never overacts, and tries her best, but seems to be as bored as I was throughout most of the film. The American "tourist" Frank, is played by Johnny Depp in a very reserved manner. Depp as well, never really seems to be sure of what von Donnersmarck is trying to do, and as a result gives an inconsistent and mostly irritating performance. As a huge fan of both Depp and Jolie, it was frustrating to watch these two talented actors get by on reputation alone. Paul Bettany fulfills the obligatory role of the British policeman attempting to track Jolie, and he does so in uninteresting fashion.

While this is an overwhelmingly negative review, I will mention a couple of positives here. The canals of Venice are gorgeous and von Donnersmarck does provide numerous beautiful scenery shots. Timothy Dalton, as the police supervisor, and Steven Berkoff as the lead gangster both do well in limited roles. The film opens well actually. Jolie eludes the police in a scene reminiscent of The French Connection, and the initial meeting between Jolie and Depp's characters is charming and intriguing. Of course, then as the plot progresses, we realize it actually has nowhere to go.

14/30

The French Connection

Cop films can often be filled with cliches. It's rare to find a film that has the guts to explore what cops have to see and do on a daily basis in order to be "good" at their jobs. Most simply turn the cops into heros or villains and call it a day. William Friedkin's terse and gritty 1971 masterpiece, The French Connection, does much more (or much less depending on how you look at it) than that. 

The story is based in truth, and exceedingly simple. A French drug dealer is trying to sell a whole lot of illegal narcotics to a Brooklyn dealer. A pair of cops pick up the sent and the chase is on. On the surface level the film is fast-paced, exciting and has some terrific set-pieces. One chase scene in particular is ranked among the all-timers and makes the film worth-while all by itself. The character development is minimal thanks to the speed of the film. Only Gene Hackman's Popeye Doyle takes center stage.

Doyle and his partner, Detective Buddy Russo, played by Roy Scheider, are the two police officers who stumble across the drug deal thanks to Popeye's inability to take a night off. Popeye Doyle lives his job. His personal life is never shown because he has none. He defines himself as being a cop and because of that he needs to be a darn good one. For the most part he is a good cop. His hunches and relentless work rate get the police on the tale of what could become a huge drug bust that otherwise would have gone out without a hitch. It is so apparent that he is the driving force that even the criminals ID Doyle as their real problem without much prompting. We are also shown the flip side of that mentality though, as we see Doyle throw the law, and the safety of civilians and his fellow cops right out the window when it suits his needs.

Scheider is excellent as the partner Russo who is more of a typical "good" cop (Scheider was nominated for best supporting actor). Russo plays by the book, he thinks things through, he is loyal and capable. Yet, it is clear that Russo is along for the ride and would be nowhere without the bulldog that is Popeye Doyle.

The villain, charmingly played by Fernando Rey, is shown in many forms, including his home life where he is portrayed as a loving and kind husband. Of course he is also willing to kill if people get in his way. Yes there are cardboard cutout characters in The French Connection, but Friedkin did his best to blur the line. The collateral damage by Hackman is enough make anyone wonder by the end if it was worth it. And that brings me to the final scene of the movie. It is a frequently debated and controversial ending. I won't say much more about it, but you have to come up with your own thoughts, which I would be happy to discuss in an alternate forum.

The film took home 5 Oscars, including best picture, director, and the first best actor nod for Hackman who installs such an amoral ferocity in Doyle that he is both frightening and fascinating as the same time. Friedkin builds an amoral world around him, in which Doyle seems to move seamlessly. The French Connection tells of a reality where there are no absolutes and everything is grey. We have to decide for ourselves what kind of men we want policing that reality.

25/30