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Plight of the Living Dead

(Somewhat ironically) it's safe to say that Hollywood's position on the wages of sin has been clearly established. Setting aside lighter fare such as "Grosse Point Blank", masterpieces like "Shane" and "Unforgiven" leave no doubt that the sale of one's soul costs far more than it yields. In spite of treading such well-worn territory, "The American" still plays as fresh and innovative, thanks to the impressive efforts of all involved.

After an encounter with unidentified assailants ends particularly badly, Jack (George Clooney) retreats to a small town in Northern Italy to remain in hiding while his apparent boss, Pavel (Johan Leysen), tries to determine who is hunting him. In spite of Pavel's warning, "Don't make any friends. You used to know that," Jack finds himself drawn into relationships with several locals, most of whom live on the fringes of society questionable themselves.

The screenplay, written by Rowan Joffe ("28 Weeks Later...") and based on the novel "A Very Private Gentleman" by Martin Booth, refreshingly avoids an excess of exposition. Tantalizing but spare dialogue allows the audience a window into Jack's world, but only barely; just as one would expect if they were to meet such a man. Clooney, for his part, answers Joffe's challenge with a master class in subtlety. Forsaking his trademark grin and at the same time avoiding the temptation to oversell the pathos, he finds the perfect middle-ground of a man who lost his humanity so long ago that he no longer remembers it. It is only his occasional thousand mile stare that suggests that something may be reawakening in him.

Long-time music-video director Anton Corbijn, shooting his second major film, clearly relies on his love of photography, and at times "The American" almost feels like a series of still shots. With the exception of the action scenes, which are ably handled, the camera stays largely still, as frequently do the principals. In addition to being a nice antidote to cinema's ongoing (and occasionally nauseating) fascination with the hand-held camera, this suits the story perfectly, mirroring Jack's stay in purgatory as well as the quietude of the landscape around him. It's refreshing to see a modern director who trusts his actors, his story, and his audience enough to avoid constant jump cuts, explosions and seemingly endless car chases.

While there are a couple of minor holes in the story (for instance, a small insular town in Italy is the last place that a foreigner might expect to find anonymity) those can be easily forgiven. Also, it should be noted that in spite of the manner in which "The American" is being marketed, this is not the next installment in the Jason Bourne series. It is a thoughtful movie that requires patience - and rewards it.