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THE INTERNATIONAL is a film that wants to be two kinds of movies at once, and somewhat drops the ball on being either very effectively.
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This tells the epic of an concern by law enforcement officials to bring down The International Bank of Business & Commerce, the IBBC. This bank, we’re told honest from the begin, is enthusiastic in weapons trading and many shady deals moving violent overthrows of governments and so forth. They don’t really get money off the arms dealing, they compose money handling the debt of the newly emerging governments. They are a ruthless bunch, operating like a dim intelligence agency…assassinating those who stand in the map, bribing others. There is no plan to bring them to justice, it would seem, because they have their fingers in every pie, and will waste anyone who might procure in their method.
So first, THE INTERNATIONAL wants to be an “gleaming” thriller, with lots of suspense generated by the political and economic machinations of men in business suits talking in hushed tones. We leer the righteous guys and the dreadful guys both discussing with each other the ramifications of one course of action or another. There is lots of globetrotting, with scenes in Luxembourg, France, Italy, the US & Turkey. These scenes are only moderately attractive, because in the ruin, the schemes of the bank are only drawn out in the most simplistic terms (the movie wants us to FEEL that everything is richly detailed and complicated, but it really isn’t) . AND, most importantly, the actions of the bank don’t really feel entirely credible. Not that a financial institution wouldn’t align itself with some really abominable guys…but the whole thing really unbiased feels like a half-baked Roger Moore-era James Bond kind of space.
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The other half of the movie wants to be an action thriller of the BOURNE ilk. But the action and gunplay and forensic police work is mostly quite staid and uninspired. With one significant exception. There is a fabulously explain, visceral and appealing gun battle site in the Guggenheim Museum in NYC. Naturally, it relies on the ragged standby that all terrible guys are bad shots and superior guys seldom miss…but it’s a thrilling, ragged sequence that makes the rest of the movie almost worthwhile.
Also worthwhile is the always solid presence of Clive Owen. Here’s a guy who can really act, when given the chance. He can be charming, he can be soulless…but he’s seldom unimaginative (and he’s always vaguely half-shaved…talk about swarthy) . Yet good stardom has eluded him, because the truly best material doesn’t go his scheme…or when something flat-out radiant like CHILDREN OF MEN lands on his lap, no one goes to survey it. Owen is the lawful man for THE INTERNATIONAL, though. He’s edifying of handling the talky dialogue. He seems vaguely impatient with all the chatter and politics, and unbiased wants to accumulate on with taking some people DOWN. And when the action does kick in, he’s not objective an impervious gunslinger…we witness actual dismay and actual afflict. We acquire that he is a hero who COULD score killed. He brings a humanity to the most “Hollywood” of scenes and he brings movie star glamour to the most mundane of scenes. It’s an bewitching dichotomy.
Owen is the star of the film…no expect. He is in nearly every scene, and director Tom Tykwer likes to give us lots of close-ups. But Owen is assisted by a sold supporting cast, including the always welcome Naomi Watts. Her role is seriously underwritten and probably could have been handled by anyone…but it’s nice to notice her anyway. The silky-voiced, menacing Armin Muehler-Stahl also shows up as one of the head honchos from the bank. This guy has THAT character down pat, and he’s also always welcome.
Tykwer can be a tremendous director (Urge LOLA Hurry is a propulsive film in the best possible procedure) …and the gunfight shows where his lawful talents lie. He doesn’t bring noteworthy zest to the talkier scenes, and I hope someone notices this and gives him a more action-packed thriller to helm.
Overall, I enjoyed THE INTERNATIONAL, but for most of its 118 minutes, I was quite aware that what I was seeing was not going to leave great of an impression. It’s a solid but seldom bewitching movie. It wants to mediate it has captured the flavor of our times, but it isn’t rooted enough in believability. If you like Clive Owen, I’d say it’s worth a behold. If you’re not a particular fan…then there’s very shrimp reason to use time on it. It’s a come miss.
This film was very well done: Expedient Memoir, Advantageous acting, Ample directing and camera work. It highlights one of the things in our society that noone wants to accept: government is not a titanic brother that will buy care of you, but an institution. The system not only can be bought, but has been for a long time now. And, this is a very well done film about fair how that works.
Everyone thinks that the US Constitution is about giving citizens rights, but that is not what it says and not the purpose of it. It is an attempt to limit the power of government so that it doesn’t gain the power to reign over us the design governments in the rest of the world do. But people today have forgotten the simple fact that any organization that is ample enough to occupy care of all your needs is substantial enough to occupy all your rights away.
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