A Most Wanted Man

This film is all about how bureaucracy works. How the spy agencies tackle and deal with problems that arise. Different agencies have different and sometimes contrasting ways to deal with the same problem and this leads to a dilemma which I think is the main theme of the film. The movie addresses the question of whether it is better to come up with the quick solution by nabbing the ordinary low-lives who become terrorists by getting influenced by others or is it worth the patience to let them do what they are supposed to in order to get to the real bosses and masterminds and get to a solution that is more significant and I think it addresses it brilliantly. The director develops a very tensed atmosphere throughout the entire film and never succumbs to the pressure of coming up with flashy over the top action sequences and the screenplay is very realistic. Now let's come to the acting. There are many supporting actors like Rachel Mcadams, Willem Dafoe,etc who are good. But this film is Philip Seymour Hoffman's vehicle. He is stupendously brilliant as he always was throughout his career. This film allows him to go out with a bang and show the world why he was one of the greatest. He plays a character who is a chain smoker and who uses this addiction to hide from the failures and struggles of his past career. Hoffman never puts a foot wrong. While the film was more or less brilliant, there were one or two minor scenes which seemed slightly unrealistic and Rachel Mcadams' German accent was sort of on again off again. But apart from these I can't find any flaws. Some people who want every spy thriller to be like James Bond have called this boring, but for people who like gritty,realistic stories about spies and national security, this will be a rewarding experience.

Plenty of people have already said this, but it's entirely true: 9/11 unleashed a far larger terror than just devastation to two buildings and many lives; it unleashed widespread paranoia—suspicion of the average Arab and yet another division in ideologies. Guantanamo Bay, contrary to majority belief, isn't only holding convicted terrorists but those innocent men accused of such turpitude as well. Wrongfully marking, such institutions have afforded authorities the ability to aggressively interrogate and brutally torture so much as a suspect. This is the kind of monster the culprits behind 9/11 released onto the world.

A Most Wanted Man chillingly manifests the terrifying degree to which intelligence organizations are (desperately) willing to go in order to identify their targets and extract imperative information. In this case, a man named Issa (Grigoriy Dobrygin) is that target—a former detainee of both a Russian and Turkish prison, now on the run as an innocent man who's being unjustifiably chased—and seeks the assistance of a lawyer (Rachel McAdams) to safely escape the intimidating clutches of whatever intelligence agency. The late Phillip Seymour Hoffman plays a spy who operates from a smaller, independent bureau that's significantly less forceful and antagonizing than the more powerful ones surrounding this prey, but still has its wide-open eyes fixed on Issa and the exact reason behind his illegal emigration to Hamburg, Germany as a Muslim.

As to expect from an Anton Corbijn film, this thriller is slower and more deliberate than most but yet definitely more absorbing and exciting than 2010's The American. It's also important to note that the film is an adaptation of the novel (the same title) written by John le Carré who has also authored gripping narratives like The Constant Gardner and Tinker Tailor Soldier Spy (both went on to become motion pictures as well, the former succeeding and the latter failing in my eyes). Anyway, what commences as a careful study of the crisis (numerous shots of Hoffman's character smoking in a darkly-lit vehicle and those of activity in mosques or Issa's movement around the city) quickens its pace as the stakes are finally realized and the endgame becomes clearer. From there on out, constant frustration and tension is totally expected from the audience as competing forces in the midst of the war on terror— all found in the grayer areas of principle rather than the black-and- white—vie for the upper hand.

The rest of the cast features the likes of Willem Dafoe (a banker who's connected to Issa through family friend relations), Robin Wright (a CIA agent), and Daniel Brühl (working alongside Hoffman as a computer-savvy agent). Hoffman's performance should absolutely be recognized once the end of the year approaches, again proving that he never phones it in (even when we're discussing a YA franchise like The Hunger Games). His character here is both confident in his path yet cautious at the same time, blurring our view to determine whether he's more compassionate or relentlessly unforgiving like the other agents. I also have to give props to McAdams for finally attempting something fresh at this point of her career which primarily consists of clichéd romantic comedies; herein, she doesn't have a romantic partner to latch onto for help as usual but a foreign fugitive on the brink of capture. As a result, she's smart (albeit vulnerably frightened) but only human at the same time.

In addition, the cinematography is very suiting and noteworthy—a bluish hue accompanies a substantial portion of the film as the itty-bitty details of the environment are forced to stick out (everything kept in suspense). Everything is visualized solemnly and unhurriedly, and the filmic look returns as the standard for spy thrillers. A subtle musical score gives an additional edge of anticipation to the narrative as the twists and turns emerge and the complexity of the subject matter deepens.

Now, if the climax wasn't as explosive and wholly satisfying as it was, the rest of the film in comparison would've appeared a little too meandering and eventless for most tastes. However, the subject matter and thematic material of the picture are (unfortunately) incredibly relevant in this day and age and the unpredictability of the story itself will ensue to the very last scene, therefore making this tale a mature compelling and provocative viewing of our modern world—the anguish and trepidation that has devoured us and confused our set of ethics.

Anton Corbijn's tense, moody and brilliant adaptation of John le Carre's novel of the same name. The most fascinating aspect of this film is the fact that, the film being a spy thriller, there isn't a single shot of bullet fired; no dead bodies, no car chases, no stunts, or any such thing. Instead, it's observant, and follows our characters on their trail of a fund linked to a terror organization.

Philip Seymour Hoffman is the reason one should watch it. His character is intriguing and likable, but with this role, talented Mr. Hoffman shows us all the reasons we're going to miss him. This being his last completed film (before his death), combined with the thought-provoking ending, leaves one with a bittersweet feeling once the movie has ended. Like Hoffman himself, his character Gunter pours his heart and soul into only work he knows well. The last scene, with Hoffman's scream of despair, sent shivers down my spine; with the help of the mesmerizing final score, I was fixed to my seat till the credits rolled out. He also elevates the performances of his supporting actors, Willem Dafoe, Robin Wright and Rachel McAdams. German actors Daniel Bruhl and Kostja Ullmann, though present in the film, are not properly utilized.

After the various terror attacks around the world, many International agencies aim to curb it, but the way they get their job done differs from one agency to the other. Trying to do good is not only a difficult path in such scenarios, but often tends to be futile.

The plot hardly matters here; it's only a vehicle for exploring the dirty side of intelligence work and is complicated as a Swiss watch. Maybe the NSA revelations have you thinking twice about spywork? The fact that we caught spying on our own allies, the Germans, adds a special relevance to this tale. But the real appeal here is a)LeCarre's dark, dark, dark worldview and b) Hoffman's superb acting. He just tosses this role off, and is utterly convincing. After you see this you should see the film that perfectly bookends it: LeCarre's early '60s The Spy Who Came in From the Cold. Just as gritty and dirty and with Richard Burton as Alec Leamus. Like Gunther Bachmann,Leamus was a worn-out, beat-up, used-up operative, and audiences of the time, entranced by the frivolities of James Bond, were rather shocked by the dose of reality he represented.

Greetings again from the darkness. If you aren't an avid reader of John le Carre' spy novels, perhaps you've seen movie versions such as Tinker Tailor Soldier Spy, The Constant Gardener, or The Russia House. If not, how about director Anton Corbijn's previous film The Amercian (2010 with George Clooney)? The more you've read and seen these, the more you are prepared for this latest.

Mr. le Carre' actually was part of MI5 and MI6 (British Intelligence) and uses his experience even so many years ago to provide the type of post 9/11 anti-terrorism spy thriller that doesn't focus on explosions and gun play, but rather the subtleties of communication when very smart people go up against other very smart people who may or may not share their goals. Secrets and misdirection abound. Traps are set, and sly maneuverings are pre-planned.

As if all that weren't enough, how about another mesmerizing performance from the late Philip Seymour Hoffman? He is a master at the top of his craft here. Sure, maybe the German accent is a bit distracting at first, but it was necessary because movie audiences needed a constant reminder that he is not playing an American! I cannot explain how this chain-smoking, mumbling schlub can so dominate a scene and disappear into a character, but Hoffman most certainly does both.

In addition to a very cool script, excellent support work comes from Grigor Dobrygin as Issa, the central figure in Hoffman's character's work, Willem Dafoe as a somewhat shady banker, as well as Robin Wright, Daniel Bruhl, Nina Hoss, Homayoun Ershadi, and Rainer Bock. The only miscast is Rachel McAdams as rich girl turned terrorist sympathizer.

Parts of the score were excellent - the droning, ominous piano notes. The composer was Herbert Gronemeyer, a German rock star (you'd never know from the score). This is a delicious, challenging look at international spies and how one never knows where they fall on the food chain ... minnow, barracuda, shark. http://moviereviewsfromthedark.com/