The American (2010)

Fans of the thriller genre, beware. Although marketed as an action-packed spy film, 'The American' spends less time chasing shady individuals through dimly-lit alleyways and more time indulging in the majestic scenery of sunny Italy. This may not be the movie many people are expecting, but hopefully audiences can move past their preconceptions about the film and enjoy this slow-paced, eye-catching love letter to the Italian countryside.

George Clooney stars as Jack, a man with a shadowy past and quiet demeanour. Most people will find this a little unsettling, as Clooney is usually associated with charismatic roles, but the change-of-pace provided in this film demonstrates his dramatic range. The manner with which he speaks is short and sharp, whilst he appears more concerned with not being noticed then anything else. His reserved nature is offset by animated conversations is drawn into with the various Italian characters. Father Benedetto (Paolo Bonacelli) is one of the first countrymen that Jack encounters after arriving in the village of Abruzzo. He is a wonderful character that quickly transcends the 'wise old man' role that I initially assumed he would fall into by being unexpectedly assertive when introducing himself to Jack. He shows a worldly understanding that comes as a shock, considering the isolation with which the town itself is presented. The other character of note is Clara (Violante Placido). She works in a local brothel which Jack starts visiting shortly after he arrives. Before long, a bond is formed between the two that goes beyond their physical relationship and Jack makes moves to leave his 'work' behind and start a new life with Clara. Clara and Jack are similar in many ways: they are both strong, independent and have questionable backgrounds. It is an unconventional relationship in unconventional circumstances yet the honesty in the interactions between the two characters makes the relationship feel completely natural, not convoluted.

The actors do a fine job, but there are two other stars of this show. The first is the script, which manages to do more with less seemingly effortlessly. There is very little dialogue in the film but we as an audience do not feel cheated. The characters do not rely on long bouts of exposition to establish the backgrounds of their particular characters. Rather, there is enough implied through subtext to satisfy the audience. This is important because it allows economy of script, giving the characters more time to interact with other characters in the present. This helps maintain the pace of the film, which is important considering the second star of the show: the cinematography. The sweeping views of the city are lengthy and stunning. Every frame is immaculately designed to show off the colours and architecture of the old buildings, cobbled paths and the mountains that surround them. Interior scenes are shot with the same love and care. Small cafes and lavish restaurants are shown in contrast to the workshop that Jack has turned his room into, all of which helps to give flavour to the wider surroundings.

There is no denying that 'The American' will be too slow for some. There is very little emphasis on action and the tone is unlike the majority of films that filter through to the worldwide stage. However, for others it will be a breath of fresh air. The charm of this film is undeniable.