The American

It is important that you, the reader of this review know that the movie I saw just before "The American" was "The Girl With the Dragon Tattoo". This is vital information because in many ways these movies are very similar. Both are dripping with European moodiness. What I mean is possibly 30% of each movie is devoted to long pauses, 25% of each movie is focused on sullen faces, 17% is shadows, with another 21% pure darkness. That leaves approximately 7% for story, action, dialogue and the titles (opening and closing). Perhaps I am being unfair. Even though I was aware of its style, it didn't distract me during "The Girl with the Dragon Tattoo". And in all honesty "The American" was a good movie, and I liked certain aspects. The problem is that it was too much, too close together.

George Clooney plays an assassin who is confronted with the idea that he has lost his soul. What makes this a dilemma for him is the discovery that he wants a soul. Of course regaining a soul is not quite as easy as losing it (at least according to standard cinema conventions). The plot is standard, simple and merely a vehicle for a performance by Clooney. What sets this film apart are his conversations with a local priest. These brief exchanges lead to Clooney's character making decisions at key moments, that will forever change the course of his life. I liked the cause and effect nature of what was said and done. So often in movies, one seems to be a slave to the other (dialogue and action). "The American" did something else I really appreciate, it developed a character without seeming heavy-handed. Clooney's American has a love/hate relationship with life. This is symbolized in his mechanical expertise. It is clear that he is gifted and even finds peace in working with his hands, yet he uses this ability to do that which he is trying to avoid. For this reason, even with its thick European feel, I found the film to be very intriguing.