Just watched it on Netflix and really dug it.
I'd give it a 7.5/10
I count six shots.
I count two guns!
Same here, I thought the film was very good. Clooney was excellent in this film, that final scene with him in the car's gotta be some of the BEST I've ever seen from him as an actor. Underrated film & performance for sure.
"I am the ultimate badass, you do not wanna `*beep*` wit me!"- Hudson in Aliens.
I also did like it, although not the final scenes in the car. Who lives by the sword,.... But, i think The Professional, Leon, was a stronger movie.
shareBut, i think The Professional, Leon, was a stronger movie.I'm looking for a copy of The Professional. I caught that movie by accident on television years ago and loved the relationship between the lead characters. I found The American a week ago at a second hand book store and bought it on a whim. I thought it was great. Simply because it was not Bourne. A great character driven story with wonderful Italian scenery. It was not what I expected and I think that has made me appreciate it more. share
I can hardly describe how much I disliked this movie. Beyond a great opening scene (and that scene was so good it kept me watching the rest, just for the hope that something - anything - in the rest of the film would measure up) it had almost nothing to recommend it.
I'd start with a script that goes beyond "minimalist" to "so sparse I wonder if the director just randomly threw out sentences as he went". Meaningful looks and long, drawn out pauses do NOT make your movie meaningful or artistic, just boring.
Dull, uninteresting main character. Try to describe him beyond "paid assassin, sort of wants to retire, knows how to build guns, impresses a prostitute, has a butterfly tattoo". I didn't pick up anything else. Because he never expresses anything in words, and he never implies anything either! He's utterly impassive and dull.
Other character's interest in him is inexplicable and unearned. He says NOTHING to the priest or the hooker of any interest whatsoever. So why are they so fascinated with him? Again, he doesn't even IMPLY that there's anything going on behind his lifeless eyes. He's a boring cypher so it strained credulity that he'd have that sort of personal magnetism.
Utterly predictable. That is, after the opening scene. Did you not see the ending coming about 20 minutes in? Come on - how did the killers keep finding him in remote locations? Who was going to be killed by the rifle he was making? Why did his boss keep looking so pissed off (or constipated) whenever they were on the phone? The boring relationship with the prostitute, the outcome of each shootout, much of the infrequent dialog… All completely predictable.
The butterfly motif. Yes, he wanted to be free. Oh, the artistry! When we saw the CGI butterfly flying upwards in the last frames I wanted to gouge my eyes out. To quote Mel Brooks: "It must be some symbolism. I think it's symbolic of junk".
The direction. Well, I will say that it was well-shot and took advantage of both some gorgeous natural locations and moody streets. Other than that, I'd say again it was far, far too slow, and the director did not get good performances from any of the actors. That is always a bad sign.
So, just speaking for myself, that's why all the hate. Truly one of the worst full-budget films I've seen in years. I gave it a 4, mostly for the nice cinematography and that opening scene.
I think a four makes you generous. I agree with everything you said: I see what they were going for with the butterfly and the killer trying to evaluate his life and move on and being unable to escape and blah, blah.
You know what movie did all of that without the heavy-handed butterfly bullcrap or being duller than paint? The Godfather when Michael goes to Italy.
Is he trying to evaluate his life? Maybe I should watch it again, but I don't remember that. He's a pretty cold-blooded dude, and in the end he dies. His transformation has nothing to do with him repenting for his 'sins'. The movie is not a character study.
shareI think that's what they're going for. I think the idea for the movie was a killer who feels trapped and alone and finally starts to come to terms with who he is. I think that was the intention behind all the "deep talks" with the priest and the hooker and the other people he chats with.
But, I think the movie fails to deliver. His character's arc isn't interesting, the conversations he has and the moments he shares are vapidity itself with just enough minimalist "indie" style to be in some kind of pseudo-intellectual disguise. Basically, I think the film is a mess.
I'll have to watch the movie again. Maybe you are right. I'll get back to you.
shareI'm not sure I'd bother. As I said, I think that's what they were going for, but, in my opinion, failed miserably at.
shareI think that's what they're going for. I think the idea for the movie was a killer who feels trapped and alone and finally starts to come to terms with who he is. I think that was the intention behind all the "deep talks" with the priest and the hooker and the other people he chats with.
I've never heard the Greek quote, but I'm familiar with the sentiment from other sources.
A character without an arc is, in my opinion, poorly written. It's hypothetically possible that one could be created where they were still interesting, but I've never seen one.
In the instance that he is trapped and unable to change, his arc should go:
1. "I am trapped in this world and want out."
2. "I try to escape."
3. "I am unable to escape and resign myself to my fate."
The bottom line for me is that I found the movie was reaching for some kind of deep meaning and symbolism and I just didn't find enough in it to be worth it.
Now, all that said, I'm not saying my opinion is law or capital-T Truth or anything. Other people (yourself included) can adore the film and find a lot of depth to it, and I don't need to insist that you hate the film. I'm trying to be sincere and it's a message board, so I hope this isn't coming off like sarcasm. Basically, I don't like the movie, but the fact that other people do doesn't bug me. I don't think I'm "right". I just like being on these boards to get the different opinions.
A character without an arc is, in my opinion, poorly written. It's hypothetically possible that one could be created where they were still interesting, but I've never seen one.
I would have figured the American was a character study, since it is so preoccupied with Clooney's character. How would you classify it if not a character piece? Is it a spy film? Mystery? Drama?
Can you also let me know what you think are some character study movies, by your definitions of the character study? I'd just like to know some of your benchmarks, because I like your summary of what a character study film is (succinct, accurate - a great explanation). I've always liked Taxi Driver for a character study.
I would label it 'existential' above all else. As for the traditional categories, I guess 'drama' would do. Once again, I don't call it a character study because it's depth is rendered through metaphor. I can attempt to explain some of those metaphors if you want, but I think I've already posted more than a few times about that topic.
1. Pure character studies: Taxi Driver, Jackie Brown, Shame (2013), The Godfather, The Godfather Part II.
2. Less pure character studies: The Graduate, Chinatown, There Will Be Blood.
3. Highly thematically reliant films that remain concerned with their characters' inner lives: Kill Bill, Eraserhead, The Third Man.
4. Films that look like they give a *beep* about their characters' inner lives, but actually primarily use their characters as subterfuges for masking metaphors: The American, Vertigo, North by Northwest, The Shining, Inglourious Basterds.
5. A film that doesn't give a *beep* about it's characters' inner lives: 2001: A Space Odyssey.
Mm. Interesting. I like very basic categories for films, and I've never heard anybody step outside the box with a genre title like "existential", but that's interesting.
I wouldn't mind your briefly getting into a couple of metaphors. Don't exhaust yourself, of course, but I haven't the time to dig through a half a dozen boards, combing for metaphors. I would enjoy your thoughts on the metaphors of the film.
I never thought of the Godfather flicks as character studies, but you're right, they are. I don't think I would classify them as quite "pure", though, as they are so epic in scope that they deal with more than just Michael and Vito as people. I'm 100% with you on Taxi Driver, though, which doesn't exist in any capacity without Travis.
Also: I laughed when I read "Films that look like they give a *beep* about their characters' inner lives, etc." That's funny stuff. I like the comparison between The American and Vertigo. It lets me understand where you're coming from better.
So I just cut and pasted a post from a few years back, hence the more dramatic feel to the writing:
The tunnel during the opening credit sequence: Moving towards the light, coming out of darkness: Life to death.
The towns maze of walkways: Dangers lurk here, along with lovers, priests, friendlies, other sinners: Life as a maze.
Jack's skill: he crafts weapons. It is the thing he does despite his life. It is simultaneously connected to his life and apart from it: Jack's expertise mimics the artist's craft.
Jack as a hunter: Jack is a wolf amongst sheep, a killer allowed to roam. The female assassin is a killer too. They recognize each other. They are attracted to each other in the same way two powerful people circle and size each other up like large cats preparing for battle. In contrast, the prostitute and the priest is not Jack's equals. They lack skill. They are the sheep, or innocents. But Jack needs them in the same way a powerful person needs and controls others. He needs their inner life to live. In this way he is a man divided. He seeks peace and solitude but needs others.
Jack's solitude: because we all are essentially alone.
White butterfly seen in the forest setting 3 times: Transformation. The film's last shot shows the butterfly escaping up from Jack's car, or from life to death. Also, Jack is referred to several times as Mr. Butterfly.
Setting: moves from snow laden winter scene to chilly Italian back drop to the blossoming life of the forest setting found in the film's final shot: Death to life:
Death as rebirth.
I like the comparison between The American and Vertigo. It lets me understand where you're coming from better.
Thank you for pasting up some metaphors for me. I dig. The butterfly one was pretty obvious, I felt, but the tunnel and the town's maze is interesting stuff I hadn't thought of before.
I'm still not a big fan of The American, but I like chatting about film and it's nice hearing about the different perspectives.
Just watched "The American" for the first time, unsure what I'd make of it. I too was moved and impressed.
I can see why some people were bored, but that's a matter of expectation, not a fault of the film itself. I for one was hooked, couldn't look away. Even when nothing was happening (like when Jack was sitting in the café waiting while Mathilde visited the 'ladies room'), there was plenty to observe, plenty to think about, plenty to imagine. It was nicely done, and I enjoyed it.
And the cinematography was beautiful, which almost justifies everything.
Yep me too! Just finished watching and enjoyed :)
No action for the youngsters.
35-45 only... Lovely Hitman Tale.
Nicely paced !
;) Be lucky all!
Last night I watched the DVD and dug it too.
Can't wait to watch it again tonight listening to the director's commentary.
I gave it 9/10.
@ Soldier_one_2
"35-45 only... Lovely Hitman Tale. "... I'm 23 & I enjoyed it.
@geoffrey-jackson. Its always fun & interesting listening to commentary while watching a movie for the second time, I do the same often