Um assassino se esconde na Itália para sua última missão.Um assassino se esconde na Itália para sua última missão.Um assassino se esconde na Itália para sua última missão.
- Prêmios
- 4 indicações no total
Irina Björklund
- Ingrid
- (as Irina Bjorklund)
Lello Serao
- Barman (Town Square Bar)
- (as Raffaele Serao)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesWith the influx of cast and crew, the existing population of Castel del Monte - 129 people - was more than doubled. When a crew member needed emergency dental work, he had to go to a nearby town as the answering machine of Castel del Monte's dentist declared that he was "unavailable, due to his appearance in a Hollywood film."
- Erros de gravaçãoJack/Edward cites the muzzle velocity of the rifle as 360 miles per hour (mph). No expert cites muzzle velocity in mph. It's always in feet per second (fps) or meters per second (mps). Beyond that, 360 mph is only 528 fps. That's hardly a reasonable muzzle velocity for that rifle, and it would likely be very inaccurate.
- Citações
Father Benedetto: [speaking to Jack] You cannot deny the existence of hell. You live in it. It is a place without love.
- Cenas durante ou pós-créditosThe credits at the end are in order of appearance. However, the 3 hookers are listed in the order: Hooker #2, Hooker #3 and Hooker #1, which logically doesn't make sense.
- ConexõesFeatured in Maltin on Movies: The American (2010)
- Trilhas sonorasLa Bambola
Written by Ruggero Cini, Franco Migliacci (as Francesco Migliacci) and Bruno Zambrini
Performed by Patty Pravo
Courtesy of Sony Music Entertainment (Italy) s.p.a.
by arrangement with Sony Music Licensing
Avaliação em destaque
It was only a matter of time before I watched this. A film hated by audiences for its misrepresenting marketing and rarely discussed amongst cinephiles due to its style over substance. The plot is vacuous no question, and struggles to fill up its runtime. However, as a character study, I believe Corbijn's minimalistic approach to be incredibly nuanced and tasteful. A contract killer on the run is temporarily residing in the Italian countryside where he has one final task to pull off for a client, to which he meets a woman he is romantically interested in.
The editing for the film cleverly lures viewers in, with one of two short shootouts being shown right at the start. This immediately sets a precedent for action, or perhaps stylish spy shenanigans. Once Clooney's silent but deadly protagonist finds his way stuck in the beautiful town of Castelvecchio, Corbijn slows the pace down to a grinding halt. Every action, destination or conversation is shown through Ruhe's gorgeous minimalistic cinematography. Ten minutes can be spent just following Clooney down a street, edited only to change camera positions. For some, this will be a major deterrent that will force many to turn off before reaching the halfway mark.
However, upon reflection, Corbijn's deliberate slow pace makes sense. He attempts to thematically convey the loneliness of this contract killer, inevitably disposing of those who grow attached to him. One could argue that mainstream spy flicks like 'Casino Royale' convey this through spectacular extravaganza, yet The American opts for an arthouse approach. Does it achieve the same results? In a way, yes. The biggest problem with this film is the lack of plot. It becomes overbearing at times that nothing is actually happening and is unable to evoke any characterisation or engrossing dialogue, but still remains intriguing thanks to the rural scenery and Clooney's nuanced performance.
It's peculiar, and a film that has lingered on my mind for some time now. It's unfortunately too empty to be a flawed masterpiece, leading me to look at my watch on various occasions, but certainly doesn't deserve the resentment that it has received. Technically meticulous yet unable to escape the all too common "style over substance" trait.
The editing for the film cleverly lures viewers in, with one of two short shootouts being shown right at the start. This immediately sets a precedent for action, or perhaps stylish spy shenanigans. Once Clooney's silent but deadly protagonist finds his way stuck in the beautiful town of Castelvecchio, Corbijn slows the pace down to a grinding halt. Every action, destination or conversation is shown through Ruhe's gorgeous minimalistic cinematography. Ten minutes can be spent just following Clooney down a street, edited only to change camera positions. For some, this will be a major deterrent that will force many to turn off before reaching the halfway mark.
However, upon reflection, Corbijn's deliberate slow pace makes sense. He attempts to thematically convey the loneliness of this contract killer, inevitably disposing of those who grow attached to him. One could argue that mainstream spy flicks like 'Casino Royale' convey this through spectacular extravaganza, yet The American opts for an arthouse approach. Does it achieve the same results? In a way, yes. The biggest problem with this film is the lack of plot. It becomes overbearing at times that nothing is actually happening and is unable to evoke any characterisation or engrossing dialogue, but still remains intriguing thanks to the rural scenery and Clooney's nuanced performance.
It's peculiar, and a film that has lingered on my mind for some time now. It's unfortunately too empty to be a flawed masterpiece, leading me to look at my watch on various occasions, but certainly doesn't deserve the resentment that it has received. Technically meticulous yet unable to escape the all too common "style over substance" trait.
- TheMovieDiorama
- 21 de abr. de 2019
- Link permanente
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Detalhes
- Data de lançamento
- Países de origem
- Centrais de atendimento oficiais
- Idiomas
- Também conhecido como
- The American
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 20.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 35.606.376
- Fim de semana de estreia nos EUA e Canadá
- US$ 13.177.790
- 5 de set. de 2010
- Faturamento bruto mundial
- US$ 67.876.281
- Tempo de duração1 hora 45 minutos
- Cor
- Mixagem de som
- Proporção
- 2.35 : 1
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