Making a drama out of a crisis
By Christy Lemire |
October 14, 2012, Sunday
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Print Edition
Print Edition
A movie about the 1979 Iranian hostage crisis probably doesn't sound like it would be a laugh riot - or should be - but that's just one of the many ways in which "Argo" is a glorious, gripping surprise.
Directing his third feature, Ben Affleck has come up with a seamless blend of detailed international drama and breathtaking suspense, with just the right amount of dry humor to provide context and levity. He shows a deft handling of tone, especially in making difficult transitions between scenes in Tehran, Washington and Hollywood, but also gives one of his strongest performances in front of the camera as the film's star.
It's exciting to see the confidence with which Affleck expands his ambition and scope as a filmmaker. His first two movies, "Gone Baby Gone" (2007) and "The Town" (2010), were both smart and suspenseful, but both were intimate crime thrillers set within the familiarity of his hometown of Boston. "Argo" reveals his further mastery of pacing and storytelling, even as he juggles complicated set pieces, various locations and a cast featuring 120 speaking parts.
And the story he's telling sounds impossible, but it's absolutely true (with a few third-act tweaks to magnify the drama). Declassified in 1997, the daring rescue mission depicted here still didn't make a huge splash. It's a fascinating tale of bravery, international friendship and plain old moxie, one that's serious-minded but crowd-pleasing.
When protestors stormed the US embassy in Tehran, 52 people became hostages for the first of 444 days. But six employees sneaked out a back door and sought refuge at the home of Canadian ambassador Ken Taylor (Victor Garber).
They became known as "the houseguests," and with each passing week, their safety was in increasing danger. Surely their absence would be discovered, with deadly consequences not just for them but their Canadian allies. Someone had to get them out ... but how?
Enter Tony Mendez, a longtime CIA operative who specialized in such rescues. Affleck plays the part of the quiet, world-weary force who comes up with the craziest of schemes.
Mendez would fly to Tehran under a false name and pretend he'd come there with the six US officials. They'd pose as a film crew scouting locations for a sci-fi action flick called "Argo." With fake passports (provided by the Canadian government), they'd walk out the front door, get on a plane to Switzerland and fly home. As Mendez's boss at the CIA (a commanding Bryan Cranston) puts it, "This is the best bad idea we have."
The film at least had to look real enough to fool people - and for that, Mendez turns to an old friend, makeup artist John Chambers (John Goodman, with a wonderful mix of warmth and sarcasm). Chambers in turn hooks him up with veteran Hollywood producer Lester Siegel (a hilariously no-nonsense Alan Arkin), who puts the wheels in motion to give "Argo" the necessary authenticity: big ads in the trades, a production office on the Warner Bros lot, even a script read-through.
A cheesy "Star Wars" rip-off, "Argo" would have been total schlock if it had seen the light of day, and that's a major source of the humor.
Steeped in the trends and filmmaking style of the decade, "Argo" still feels immediate. Affleck's best film yet is also one of the best films of the year.
Directing his third feature, Ben Affleck has come up with a seamless blend of detailed international drama and breathtaking suspense, with just the right amount of dry humor to provide context and levity. He shows a deft handling of tone, especially in making difficult transitions between scenes in Tehran, Washington and Hollywood, but also gives one of his strongest performances in front of the camera as the film's star.
It's exciting to see the confidence with which Affleck expands his ambition and scope as a filmmaker. His first two movies, "Gone Baby Gone" (2007) and "The Town" (2010), were both smart and suspenseful, but both were intimate crime thrillers set within the familiarity of his hometown of Boston. "Argo" reveals his further mastery of pacing and storytelling, even as he juggles complicated set pieces, various locations and a cast featuring 120 speaking parts.
And the story he's telling sounds impossible, but it's absolutely true (with a few third-act tweaks to magnify the drama). Declassified in 1997, the daring rescue mission depicted here still didn't make a huge splash. It's a fascinating tale of bravery, international friendship and plain old moxie, one that's serious-minded but crowd-pleasing.
When protestors stormed the US embassy in Tehran, 52 people became hostages for the first of 444 days. But six employees sneaked out a back door and sought refuge at the home of Canadian ambassador Ken Taylor (Victor Garber).
They became known as "the houseguests," and with each passing week, their safety was in increasing danger. Surely their absence would be discovered, with deadly consequences not just for them but their Canadian allies. Someone had to get them out ... but how?
Enter Tony Mendez, a longtime CIA operative who specialized in such rescues. Affleck plays the part of the quiet, world-weary force who comes up with the craziest of schemes.
Mendez would fly to Tehran under a false name and pretend he'd come there with the six US officials. They'd pose as a film crew scouting locations for a sci-fi action flick called "Argo." With fake passports (provided by the Canadian government), they'd walk out the front door, get on a plane to Switzerland and fly home. As Mendez's boss at the CIA (a commanding Bryan Cranston) puts it, "This is the best bad idea we have."
The film at least had to look real enough to fool people - and for that, Mendez turns to an old friend, makeup artist John Chambers (John Goodman, with a wonderful mix of warmth and sarcasm). Chambers in turn hooks him up with veteran Hollywood producer Lester Siegel (a hilariously no-nonsense Alan Arkin), who puts the wheels in motion to give "Argo" the necessary authenticity: big ads in the trades, a production office on the Warner Bros lot, even a script read-through.
A cheesy "Star Wars" rip-off, "Argo" would have been total schlock if it had seen the light of day, and that's a major source of the humor.
Steeped in the trends and filmmaking style of the decade, "Argo" still feels immediate. Affleck's best film yet is also one of the best films of the year.
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