A CIA operative ushers six Americans out of Iran during the 1979-1980 Iranian hostage crisis by pretending to make a science fiction film.This is a tense, understated thriller, drawing its drama from the ever-present threat that the protagonists might get caught and killed. It's the only film I've ever seen that can make going through customs seem like a dramatic experience. For the most part, Argo succeeds in ellicting a heavy tension.The film begins with fast-paced, witty dialogue as writer Chris Terrio channels his inner Aaron Sorkin. Alan Arkin and John Goodman are fantastic as Hollywood moguls building the CIA cover story; they spit out witticisms with such aplomb that I was reminded of the best scenes from Wag the Dog. But when Affleck's character, Tony Mendez, takes over the film, the mood changes, the pace slows, and I found myself missing Arkin; if only his character went to Iran too ... The pace picks up in the third act, but the second act lull is almost too steep a hill to climb.As the film progresses, we don't get to learn much about Mendez. There is one scene in which Mendez grills the six entrapped Americans about their identities, and it's Affleck at his Chuckie-from-Good-Will-Hunting best. But the remainder of his performance focuses on his tense, worried face. Actors say that playing drunk is hard because one has to pretend not to be drunk; the same goes for "worried liars." One has to pretend not to be a worried liar, and Affleck and the rest of his clan look like worried liars. What's more, the last shot of the film fails to compel because not knowing enough about Mendez, we don't know enough about the set-up to be inspired by the reunion.Overall, I liked Argo because it is a well-made thriller and a fine, harrowing story, but the poor pacing and its inability to fully explore the main character made me want more out of the film.
November 4, 2012
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