keihan
Joined Feb 2000
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keihan's rating
For starters, let me say that I have partially read the novel that this movie is based on (published in the 1980's) and found it a sometimes tough, boring slog. The only reason I picked it up to begin with is because I saw the TV Movie in 1988 with Richard Chamberlain. It was the beginning of my understanding that books and movies, by their very natures, are completely different animals. As for this version of "The Bourne Identity"...well, I wasn't expecting much (though I was intrigued by certain ivory-tower critics who gave this film a second look when it hit DVD and decided that maybe it wasn't so bad). If I was moderately entertained, I'd have called it a success. But I was suprised.
For all its occassional hi-tech trappings, this film reminded me, more than anything, of 1975's "Three Days of the Condor" with Robert Redford and Max Von Sydow (anyone who liked "The Bourne Identity" needs to see it immediately if they haven't already). It's geared to entertaining the over-18 crowd as opposed to the usual adolescent thrill-seekers most modern action films pander to. There's gunplay, but nothing so overblown as ten thousand bullets for one shoot-out (the cat-and-mouse game outside the farmhouse comes to mind). There's martial-arts (a lesser-known style called Kali), but no wire-fu for once. And, lest we forget, there's one of the best car-chase sequences in recent memory through Paris (who'd have thunk that a Yugo could make such a good getaway vehicle?).
But these are general elements. Specific details that brought back "Condor" memories are as follows:
--Matt Damon as Jason Bourne. Like Redford's low-level researcher, he plays a man stuck in a situation that he has no idea how he got into and even less of an idea of who's aiming the bullets at him. But it's not quite one-for-one. Redford didn't have anything to fall back on aside from his experience in the Army and Ma Bell. His ignorance is based on his rank in the CIA hiearchy. Bourne, on the other hand, speaks multiple languages, has formidible fighting skills, and is one of the brightest tacticians I've ever seen on the silver screen. But he has absolutely no clue as to how he is able to do what he does. It's all just instinct and reaction. The frustrating conundrum for him (a fact that is made very clear in the initial sequences when his skills come into play) is that, in spite of these advantages, the unknown past may have already doomed his future.
--Franka Potente as Marie Kruetz. Potente's role is more of a bohemian version of Faye Dunaway's character in "Condor" than anything else. But again, there are key differences. Redford forced Dunaway to cooperate at gunpoint, only coming over to his side with great reluctance. Kruetz is made of sterner stuff, as one would expect from a lifetime on the road. Bourne uses that other great persuader, money, to get what he needs from Kruetz and actually gives her the option of getting out while the getting is still good. Their eventual sleeping together even feels a bit less forced than the similar setup in "Condor" (a particularly novel touch about the inevitable morning after scene is the fact that Bourne is already up, dressed, and has wiped every surface in the room). The relationship is really the heart of the movie. Without it, most of the story is just not there.
--Clive Owen as the Professor. While I'm a trifle disappointed that Owen didn't get more to do with this role (unlike most folks, who discovered his obvious talent in "Croupier", I first saw him prove his acting chops in the video clips for the old adventure game, "Privateer 2: The Darkening"), his smoky, grey presence brings to mind Max Von Sydow's cultured assasin in "Condor"(even the "Professor" moniker seems to hint at such a connection). Like Bourne, he's a killing machine, as impersonal and scary as a fully loaded AK-47 to the head (the scene where he pops into pick up his info from Julia Stiles illustrates this beautifully). The only real difference between him and Bourne is the fact that he knows the answers to the questions Bourne has been asking. That he doesn't mind answering them after being bested calls to mind Von Sydow's killing of Redford's quarry and then politely suggesting an extended vacation in Europe when they both walk outside. A baddie who isn't really a baddie...what a concept, huh?
Without giving too much away, I thought that the final twist on what put Bourne out in the middle of the Mediterranean to be both logical and even believable, given everything that came before. This would seem to suggest the influence of John Woo (but only in the arena of character development, something particularly stressed in "The Killer" and the "A Better Tomorrow" films). It's basic plot logic: set up the story in such a way that, when the final suprise twist comes through, it doesn't feel like a deus ex machina so much as a reasonable conclusion.
I honestly hope that this film is the start of a trend in the action genre. Just because most action movies are the cinematic equivalent of junk food doesn't mean they have to be. What's wrong with a little fillet mignon?
For all its occassional hi-tech trappings, this film reminded me, more than anything, of 1975's "Three Days of the Condor" with Robert Redford and Max Von Sydow (anyone who liked "The Bourne Identity" needs to see it immediately if they haven't already). It's geared to entertaining the over-18 crowd as opposed to the usual adolescent thrill-seekers most modern action films pander to. There's gunplay, but nothing so overblown as ten thousand bullets for one shoot-out (the cat-and-mouse game outside the farmhouse comes to mind). There's martial-arts (a lesser-known style called Kali), but no wire-fu for once. And, lest we forget, there's one of the best car-chase sequences in recent memory through Paris (who'd have thunk that a Yugo could make such a good getaway vehicle?).
But these are general elements. Specific details that brought back "Condor" memories are as follows:
--Matt Damon as Jason Bourne. Like Redford's low-level researcher, he plays a man stuck in a situation that he has no idea how he got into and even less of an idea of who's aiming the bullets at him. But it's not quite one-for-one. Redford didn't have anything to fall back on aside from his experience in the Army and Ma Bell. His ignorance is based on his rank in the CIA hiearchy. Bourne, on the other hand, speaks multiple languages, has formidible fighting skills, and is one of the brightest tacticians I've ever seen on the silver screen. But he has absolutely no clue as to how he is able to do what he does. It's all just instinct and reaction. The frustrating conundrum for him (a fact that is made very clear in the initial sequences when his skills come into play) is that, in spite of these advantages, the unknown past may have already doomed his future.
--Franka Potente as Marie Kruetz. Potente's role is more of a bohemian version of Faye Dunaway's character in "Condor" than anything else. But again, there are key differences. Redford forced Dunaway to cooperate at gunpoint, only coming over to his side with great reluctance. Kruetz is made of sterner stuff, as one would expect from a lifetime on the road. Bourne uses that other great persuader, money, to get what he needs from Kruetz and actually gives her the option of getting out while the getting is still good. Their eventual sleeping together even feels a bit less forced than the similar setup in "Condor" (a particularly novel touch about the inevitable morning after scene is the fact that Bourne is already up, dressed, and has wiped every surface in the room). The relationship is really the heart of the movie. Without it, most of the story is just not there.
--Clive Owen as the Professor. While I'm a trifle disappointed that Owen didn't get more to do with this role (unlike most folks, who discovered his obvious talent in "Croupier", I first saw him prove his acting chops in the video clips for the old adventure game, "Privateer 2: The Darkening"), his smoky, grey presence brings to mind Max Von Sydow's cultured assasin in "Condor"(even the "Professor" moniker seems to hint at such a connection). Like Bourne, he's a killing machine, as impersonal and scary as a fully loaded AK-47 to the head (the scene where he pops into pick up his info from Julia Stiles illustrates this beautifully). The only real difference between him and Bourne is the fact that he knows the answers to the questions Bourne has been asking. That he doesn't mind answering them after being bested calls to mind Von Sydow's killing of Redford's quarry and then politely suggesting an extended vacation in Europe when they both walk outside. A baddie who isn't really a baddie...what a concept, huh?
Without giving too much away, I thought that the final twist on what put Bourne out in the middle of the Mediterranean to be both logical and even believable, given everything that came before. This would seem to suggest the influence of John Woo (but only in the arena of character development, something particularly stressed in "The Killer" and the "A Better Tomorrow" films). It's basic plot logic: set up the story in such a way that, when the final suprise twist comes through, it doesn't feel like a deus ex machina so much as a reasonable conclusion.
I honestly hope that this film is the start of a trend in the action genre. Just because most action movies are the cinematic equivalent of junk food doesn't mean they have to be. What's wrong with a little fillet mignon?
Like a good many American filmgoers, I first became acquainted with Jet Li through the unholy debacle that was "Lethal Weapon 4" (that he was the best thing in the film also didn't hurt my memory any). I got curious enough from this to want go see "Romeo Must Die", a film that, for all its flaws, felt like a breath of fresh air after LW4. I thought that they stopped making action films like this in the mid-1980s.
Because I want to end on some high notes, let's get what didn't work out of the way. First, the ridiculous wire-fu on display. In and of itself, I don't have a problem with it as long as there's a rationale for why someone is able to do these feats (it's the inside of a computer program, the fighters have been enhanced with super powers, etc.). Any self-respecting martial artist could study most of the sequences in this film and tell you how about 40 to 60 percent is wire-fu enhanced. This actually a disservice to not only Li's skills, but also those of Russell Wong in the final battle. Second, one-sided development. The O'Day camp is fully realized in terms of dynamics, characterizations, and relationships, something noticably lacking on the Chu side of the block. The closest thing to any of the preceding elements mentioned is when Chu has his final meeting with the Collective. Finally, the X-Ray CGI. I'm a bit more forgiving on this one, as it is a bit of an experimental approach. But it still boils down to a case of "nice try, but without this stuff, we'd still get the idea". End of rant.
Now, what I did like about this film...first off, Jet Li. I remember a Cinescape review coming just short of accusing Li of having the non-acting skills of Van Damme (obviously, the reviewer needed to rewatch Van Damme's filmography to realize their error). He may not, to paraphrase from the aforementioned reviewer, have the goofy charm of Jackie Chan (what charm?) or the cool charisma of Chow Yun Fat (a close second in my HK actor list), but he has his own brand of quiet dignity, bringing to mind Bruce Lee and the early Clint Eastwood. His English is just barely passable, but he makes up for it with his expressions, his eyes, and, of course, his combat. That Li has been careful with picking which movies he wants to be involved with since this film, plus the above, will probably ensure a long life in the action genre.
Second, the O'Day side of the equation. The late Aaliyah as willful Trish O'Day is an extremely pleasant suprise, maintaining excellent chemistry with Li throughout and even getting involved in the combat in a novel fashion (to be described later). Delroy Lindo is in top form as Issac O'Day, an original gangster trying to cash in his chips before the game gets ugly...too late. Finally Isaiah Washington, as the ruthless Mac, brings just the right hint of danger to the proceedings that makes you suspect him from word one.
Finally, there are the fight sequences, some of the most original setups I have ever seen on any martial arts film. Anyone who feels like they've seen it all with the usual chop-sokey needs to see Li fight five guys upside down, use improvised weaponry and his impressive agility in a stairway/alleyway fight, play one of the funniest games of football ever put on film, dance a mambo of kung fu with Aaliyah (all because he can't hit a girl, mind you), and use a fire hose in a way that no action hero outside of Hong Kong has ever thought of. The only place where it breaks down is in his final fight with Wong, which relies too much on the wire-fu gimmickry. But nobody's perfect.
All in all, thinking about this film is making me anxious to see what he'll be doing with DMX in "Cradle 2 the Grave".
Because I want to end on some high notes, let's get what didn't work out of the way. First, the ridiculous wire-fu on display. In and of itself, I don't have a problem with it as long as there's a rationale for why someone is able to do these feats (it's the inside of a computer program, the fighters have been enhanced with super powers, etc.). Any self-respecting martial artist could study most of the sequences in this film and tell you how about 40 to 60 percent is wire-fu enhanced. This actually a disservice to not only Li's skills, but also those of Russell Wong in the final battle. Second, one-sided development. The O'Day camp is fully realized in terms of dynamics, characterizations, and relationships, something noticably lacking on the Chu side of the block. The closest thing to any of the preceding elements mentioned is when Chu has his final meeting with the Collective. Finally, the X-Ray CGI. I'm a bit more forgiving on this one, as it is a bit of an experimental approach. But it still boils down to a case of "nice try, but without this stuff, we'd still get the idea". End of rant.
Now, what I did like about this film...first off, Jet Li. I remember a Cinescape review coming just short of accusing Li of having the non-acting skills of Van Damme (obviously, the reviewer needed to rewatch Van Damme's filmography to realize their error). He may not, to paraphrase from the aforementioned reviewer, have the goofy charm of Jackie Chan (what charm?) or the cool charisma of Chow Yun Fat (a close second in my HK actor list), but he has his own brand of quiet dignity, bringing to mind Bruce Lee and the early Clint Eastwood. His English is just barely passable, but he makes up for it with his expressions, his eyes, and, of course, his combat. That Li has been careful with picking which movies he wants to be involved with since this film, plus the above, will probably ensure a long life in the action genre.
Second, the O'Day side of the equation. The late Aaliyah as willful Trish O'Day is an extremely pleasant suprise, maintaining excellent chemistry with Li throughout and even getting involved in the combat in a novel fashion (to be described later). Delroy Lindo is in top form as Issac O'Day, an original gangster trying to cash in his chips before the game gets ugly...too late. Finally Isaiah Washington, as the ruthless Mac, brings just the right hint of danger to the proceedings that makes you suspect him from word one.
Finally, there are the fight sequences, some of the most original setups I have ever seen on any martial arts film. Anyone who feels like they've seen it all with the usual chop-sokey needs to see Li fight five guys upside down, use improvised weaponry and his impressive agility in a stairway/alleyway fight, play one of the funniest games of football ever put on film, dance a mambo of kung fu with Aaliyah (all because he can't hit a girl, mind you), and use a fire hose in a way that no action hero outside of Hong Kong has ever thought of. The only place where it breaks down is in his final fight with Wong, which relies too much on the wire-fu gimmickry. But nobody's perfect.
All in all, thinking about this film is making me anxious to see what he'll be doing with DMX in "Cradle 2 the Grave".
I've loved John Woo's films ever since I took a chance and bought my subtitled copy of "The Killer" for VHS (no bad dubbing jobs for me, thank you very much). The blood flew pretty close to what it probably does in real life, all actions had consequences, and nearly no one was a cardboard cutout. For years, I've been listening to folk grouse about "Hard Target" being a misfire, a mistake, or just simply not worthy of what came before (one of the most irritating examples they love to throw up is "Hard Boiled", a good, solid HK movie, but not up to the hype too many folks have given it). Curiousity finally got the better of me and I decided about four months ago to see for myself. What I came away with was the belief that this is a "doughnut" film, weak to non-existent center surrounded by strong elements all around (the original "Under Siege" is a similar such film).
But, before I go into the single biggest defect in this film, let's start with what the film got right. Chuck Pfarrar's script isn't too original (going back to that short story classic, "The Most Dangerous Game", in concept), but it carries the premise solidly and believably enough. The real New Orleans is a city of complicated and crooked political crosscurrents, which, with its surrounding bayous, makes it the ideal manhunting ground. Woo's direction captures the sense of the place very well, making it as much a character in the story as the human players (one could argue that he did the same for Hong Kong in his earlier films). Genre veteran Lance Hendrickson brings his patented smoky, suave menace to bear on the twisted "game warden" who's been organizing and making a killing, so to speak, off his inhuman enterprise. Not that he's without human qualities (his piano playing sequence and small smile of admiration for Roper's decision to take it from the front are the best examples), but definitely not a guy one invites to dinner. Arnold Vosloo, as his sociopathic second-in-command, Van Cleef, seems to relish the role, playing him as a svelte animal whose only joy in life comes from inflicting death, the messier the better. Future Witchblade Yancy Butler is a little too believably naive and helpless as the woman looking for her father and later his killers. That said, she does redeem herself with one memorable event towards the end that brings to mind a similar scene in "Hard Boiled". Finally, Wilford Brimley is a treat as the old Cajun moonshiner out to help his nephew at any cost. You gotta respect a guy who's willing to blow his own place up just to get the bad guys.
Perceptive readers may have already guessed where I've been going with this, but I'll say it anyway. The single biggest flaw in this film is its star, Jean-Claude Van Damme You All. This could have been the best film of his career...if he actually had any acting talent to begin with. It's a meaty role, a Cajun merchant marine who did time in the Marine Recon and now needs the cash of finding Butler's dad to get back to work. As written, he's tough, he's clever, he's likable. As played by Van Damme...well, let's just say that Woo did not get the Belgian equivalent of Chow Yun Fat. His accent, for once, isn't a problem, but his line readings are. He could have been reading a prescription bottle for all the emotion he put into them. Plus, he never manages to convince me that he's actually smart enough to come up with any of the very clever ways of offing the hunters that come into play. It makes his reported clashs with Woo over the film look even more petty than they already are (Woo probably found the MPAA more reasonable, by contrast). In short, he is the hole in the doughnut for this film.
It's really kind of sad that, but for one major flaw, this film could have become a classic of the action genre. Sadly, as things stand, it can only be called a missed opportunity.
But, before I go into the single biggest defect in this film, let's start with what the film got right. Chuck Pfarrar's script isn't too original (going back to that short story classic, "The Most Dangerous Game", in concept), but it carries the premise solidly and believably enough. The real New Orleans is a city of complicated and crooked political crosscurrents, which, with its surrounding bayous, makes it the ideal manhunting ground. Woo's direction captures the sense of the place very well, making it as much a character in the story as the human players (one could argue that he did the same for Hong Kong in his earlier films). Genre veteran Lance Hendrickson brings his patented smoky, suave menace to bear on the twisted "game warden" who's been organizing and making a killing, so to speak, off his inhuman enterprise. Not that he's without human qualities (his piano playing sequence and small smile of admiration for Roper's decision to take it from the front are the best examples), but definitely not a guy one invites to dinner. Arnold Vosloo, as his sociopathic second-in-command, Van Cleef, seems to relish the role, playing him as a svelte animal whose only joy in life comes from inflicting death, the messier the better. Future Witchblade Yancy Butler is a little too believably naive and helpless as the woman looking for her father and later his killers. That said, she does redeem herself with one memorable event towards the end that brings to mind a similar scene in "Hard Boiled". Finally, Wilford Brimley is a treat as the old Cajun moonshiner out to help his nephew at any cost. You gotta respect a guy who's willing to blow his own place up just to get the bad guys.
Perceptive readers may have already guessed where I've been going with this, but I'll say it anyway. The single biggest flaw in this film is its star, Jean-Claude Van Damme You All. This could have been the best film of his career...if he actually had any acting talent to begin with. It's a meaty role, a Cajun merchant marine who did time in the Marine Recon and now needs the cash of finding Butler's dad to get back to work. As written, he's tough, he's clever, he's likable. As played by Van Damme...well, let's just say that Woo did not get the Belgian equivalent of Chow Yun Fat. His accent, for once, isn't a problem, but his line readings are. He could have been reading a prescription bottle for all the emotion he put into them. Plus, he never manages to convince me that he's actually smart enough to come up with any of the very clever ways of offing the hunters that come into play. It makes his reported clashs with Woo over the film look even more petty than they already are (Woo probably found the MPAA more reasonable, by contrast). In short, he is the hole in the doughnut for this film.
It's really kind of sad that, but for one major flaw, this film could have become a classic of the action genre. Sadly, as things stand, it can only be called a missed opportunity.