We open in the snowy alps of Sweden. A still shot of a cabin is greeted with silence, followed by a slow melody via a piano. Inside, we see a couple, consisting of two beautiful people. One a dazzling brunette with juicy lips and a voice so soft it's scintillating. The other is a rugged gentlemen with a fading crew cut that shines in the light. The woman seems happy, while the man is discontent.
We travel to the outside, where the couple go for a walk. They discover footsteps in the snow, which alarms the man. His partner believes it to be a hunter, but he knows better. He rushes her to a graveled skirting connected to the road. A bullet comes towards them, narrowly missing. He tells her to stay calm, as he goes to investigate. In a matter of seconds, he detects his assassin and disposes of him. He tells his spouse to call the police, then abruptly shoots her in the back of the head.
Up top on the road, another assassin is vying for blood. He slowly walks his way down the mountain, searching for his target. The sound of footsteps interrupts his train of thought. He jolts around to be greeted by a bullet. The man with the gun, who already has two people to his name, checks the man's pulse. Once proclaimed dead, he flees the scene of the crime.
He travels to Rome, where he immediately makes a call. On the other end is a deep and brooding voice. He comes across as querulous, possibly being bothered by the call. All he has to say to his caller is to meet him in a coffee shop outside of the train station. When the two meet, we discover they work together. At what, we don't know. The man from Sweden is assigned a new duty, to take refuge in Castel del Monte.
That man is Jack (George Clooney), or Edward, depending on who he talks to. To his boss (Johan Leysen), he is Jack. To the exiguous citizens of Castel del Monte, he is Edward. His name isn't important. Laying low and staying under the radar is. Create a new identity and make those around him believe he is a photographer. Never let them in on his true identity or profession. The same rings true for the director, Anton Corbijn.
He never lets the audience in on who Jack/Edward really is. Nor if that is his real name. This isn't a flaw, but the film's major positive. What makes The American so involving is that you never know what is truly happening. You get a better grasp as the film progresses, and the ending should lead you to come to a conclusion. Whether or not it's what Corbijn had in mind is up to you.
I feel I fathomed what Corbijn was hinting at, but can't be certain. Which is why I loved this film. It's the unequivocal definition of psychology. A thriller that succeeds in making you think, even long after you've finished the film. You question the livelihood of this mysterious man from the beginning of the film, all the way to the closing credits.
This does make writing a review for the film extremely difficult. To hint at any revelation would ruin the film. Even revealing the ones that don't would mire the experience of the film. They may come across as superfluous, but they are far from it. Every little factor that plays out in this film adds up to the finale.
Take Jack/Edward's antics, for example. Many scenes in the film follow his everyday routine, from exercising to eating. They may not sound like much, but the way Corbijn handles them make them suspenseful. You can't keep your eyes off of the normally humdrum activities, as you feel they may aggregate to something. Even if they don't, they do in a sense. They build the suspense up, making your heart race and your mind think.
It also helps you delve into the mind of Jack/Edward. Whatever his profession is, it's obviously eaten him alive. He's constantly looking over his shoulder, never trusting anyone. That's the reason he shot his lover in Sweden. He couldn't risk her being a foe of his. Even a man of the cloth such as Father Benedetto (Paolo Bonacelli) galls him.
He is a man with needs, ones in which he confides in a hooker. Her name is Clara (Violante Placido), who takes a liking to him. She believes he is Edward, a photographer on duty. He can't help but believe she could be an adversary. Yet he still takes that risk to fulfill his sexual desires. That and to fill the whole in his heart.
When not confiding in Clara, he walks the streets of Castel del Monte. Every few minutes, he'll glance behind his shoulder, for personal safety. Every now and then, he'll catch a civilian glancing in his direction. Whether or not they're out to get him is an issue in which you need to uncover. I cannot explain this for you. All I can do is point you in the right direction. That being purchasing a ticket for The American.
Which is all I can do. I can't go to deep in an explanation for the film, as that would ruin the experience of it all. A psychological adventure into the mind of a disturbed man is the best way to describe this film without giving anything away. Even then I feel as if I'm giving away too much. When you hopefully do attend a screening of The American, I hope that you share the same emotional connection I did with the film. Even if you don't, you should be drawn in by the beautiful framework bestowed upon by Anton Corbijn. If you can bring yourself to digging deep into The American, and don't feel I ruined anything for you, then you should have gone through the ultimate movie experience. I know I sure did.
-Justin Oberholtzer
