Body of Lies
Cold War’s end heralded a change in traditional espionage thrillers. Moving away from shadowy Russian agents, authors turned their attention to Middle Eastern events which offered a well of deceptive bounty. Adding nuance to the adage ’in every spy lurks a great actor’ Body of Lies’ protagonists become caught in double-crosses of their own design. An intense drama and action maestro, director Ridley Scott delivers an interesting investigation into personal and professional conflicts.
CIA operative Roger Ferris (Leonardo DiCaprio) is an expert in tracing terrorists. Based in the Middle East, he obtains his commands from results driven boss Ed Hoffman (Russell Crowe). Ordered to track down a leading terrorist in Jordan, Ferris forms an uneasy alliance with its intelligence chief Hani Salaam (Mark Strong). Interwoven with a romance with a local nurse, Ferris’ life becomes an entanglement of lies where his true enemies may be the ones closest to him.
After a long period filled with mediocre films, this decade has seen a re-birth in Scott’s output. Returning to the brass tacks gritty stories for which he became known, his assured direction here serves him well. Although the recent wave of Mid-East set films may perhaps steal his thunder somewhat, his style adds freshness to the familiar tale. Evidence of this is shown with the Ferris romantic sub-plot which neatly increases the conflicted nature of his work. Well mixed is Hoffman’s ongoing interference and cold-heartedness which adds another hurdle the spy has to face to reach his goal.
Shot with an ‘in your face’ panoramic dirtiness, Body of Lies ensures the viewer remains mostly gripped despite its occasionally meandering screenplay. DiCaprio and Crowe give fine performances, conveying a central truth to their roles enabling events to feel realistic. Crowe equips himself well with his culturally ignorant tactician meting out orders to DiCaprio’s determined foot soldier. The action scenes are well staged with the constant game of brinkmanship keeping momentum bubbling along.
Body of Lies is an engaging addition to the new era of spy movies. Whilst the story isn’t particularly original its fresh feel comes from focussed direction and good casting. The Cold War may be a memory, but this film shows that the art of lies and spying never goes out of fashion.
Rating out of 10: 7
The Duchess
The period up to the beginning of the 1980’s is seen as a golden age for BBC television. Producing a wide array of exquisite costume dramas, the BBC gained a worldwide reputation for its period pieces. Aptly produced by its film arm, The Duchess continues this fine tradition. Filled with superb costuming and stunning locations this makes up for the slightly detached experience the screenplay delivers.
Georgiana Spencer (Keira Knightley) becomes the subject of an arranged marriage. By accepting the hand of the Duke of Devonshire (Ralph Fiennes), she also comes to acknowledge the responsibilities it entails. Pressurised into giving the Duke a male heir, their shaky union slowly crumbles due to his emotional indifference. Tired of his constant womanising and demands, she embarks on a social whirlwind of gambling and political campaigning. The later brings budding politician Charles Grey (Dominic Cooper) into her life with their blossoming union exposing the hypocrisy and deception of 18th Century life.
Condensing her life in an acceptable package, The Duchess becomes a study in contradictions. Like many recent historical epics it draws inspiration not from history but from the recent past. This becomes evident in its allusions to Princess Diana of whom Georgiana was a distant relative. It’s a pity the writers have structured the movie in a way drawing comparisons to Diana’s life which robs any hint of individuality of the title character. This feels like lazy scripting instead of crafting a story based on fact. Generally the film is very watchable although the simplistic story-telling style devalues what must have been a very complex situation.
Preventing the film from turning into a torrid melodrama, Director Saul Dibb ensures events proceed in a measured way. Looking for the attention her husband denied her, Georgiana’s craving for the love of her friends is well realised. Knightley gives a reasonable performance, although she doesn’t have the strong acting nuance to totally convince as a liberated woman torn between duty and desire. Fiennes is more successful, showing care in blending some shades of grey into his seemingly black hearted spouse. Showing off its surrounds in all its finery, the cinematography manages to wisely avoid turning into a travelogue tour of stately manors.
Missing a genuine passionate feel so vital to the genre, The Duchess nevertheless makes the most of its cinematic utilities. Despite being too genteel towards its subject, the movie at least doesn’t tarnish the prestige for which the BBC has become renowned.
Rating out of 10: 6