Runtime: 2 hours
Rating: R
Director: Ben Affleck
Quick Impressions:
For the past several months, I’ve raved on an almost daily basis, “I’m so excited to see Argo.”
And every time my mother’s been within ear shot, she’s blinked and asked blankly, “What’s Argo?” (Seriously, this has happened so often that we both joke about it constantly, and she’s now afraid to ask me about any movie I mention just in case it’s that one again.) Of course, back when Affleck took on the project, I was the one asking, “What’s Argo?”
Vague descriptions made it sound strange and potentially less promising than all the high profile stuff Affleck was turning down.
I’m a huge fan of Ben Affleck as a director. I have a particularly soft spot for Gone Baby Gone since I so often used it in my rhetoric classes back when I was teaching, and The Town was the strong follow-up that proved Affleck’s directorial debut had been no fluke.
I’m happy to report that Argo is Affleck’s best movie yet and seems to be a shoe-in for a Best Picture nomination. (At least, I cannot fathom it not getting a picture nod, and I’d personally give Affleck a nomination for directing, too.) Of course, Argo also made me a bit sad as I realized that despite all the great performances I’ve seen by supporting actors this year, only five nomination slots exist. Not everybody who deserves a nomination can get one.
The Good:
In case my mother is reading, I’ll go ahead and say that Argo is about the CIA’s efforts to extract six American diplomats who escaped from the American Embassy in Iran just before the mob rushed in and took everyone hostage. In Argo, these six Americans take refuge in the home of the Canadian ambassador (Victor Garber) and remain there in secret for several tense weeks. Then a CIA operative skilled in extraction (Ben Affleck) comes up with a plan to make a fake science fiction movie called Argo that requires an exotic, Middle Eastern shooting location. He poses as a Canadian filmmaker and travels to Iran himself, ostensibly to scout locations but actually to bring the diplomats home with him. Because these events were classified until about fifteen years ago, many people might not know how this story ends, so I won’t give it away here. The film does an excellent job of building suspense, so, really, the less you know going in the better.
As an American, of course I’d heard of the Iran Hostage Crisis. As someone born in 1979, though, I hadn’t heard much. (I did get a little thrill when I saw my exact birth date written out in long form on a photograph of one of the actual passports shown in the credits.) As a child, I heard names on the news but chronically confused the Ayatollah and Lee Iacocca. (I’m serious.) In high school, I never heard one word about Iran in class. In college, I heard about
the Ayatollah in Iran all the time—but only from Billy Joel because one of my roommates loved him, so We Didn’t Start the Fire got a lot of play on our apartment stereo. (Naturally, as I watched Argo, the breaking news about the Russians invading Afghanistan didn’t surprise me at all. Thanks, Billy Joel!) Neither my husband nor I knew for certain how the movie would end, though. (I felt pretty sure it was going to go one way, however, because otherwise why make a movie about it?) So if you don’t know much about the fate of these six Americans, I’d recommend reading up on it after the movie.
And now for a brief rant about the MPAA. As I sat watching this film, I thought, This is wonderfully educational and thought provoking. There is absolutely no reason that junior high and high school aged kids should not watch it. Why is it rated R? (I realize that Alan Arkin says his cute “Argo” catch phrase about a million times, but does anyone actually believe this will shock even twelve-year-olds? What ought to shock them more is the violence, but most of the violence actually shown in the movie was broadcast on network TV in the early 1980s.) This movie does have mature themes—and occasionally crass language—but it has no nudity or sexual content. (And although it’s a well-known fact that teenagers never use crude language themselves, I think surely they have overheard adults using profanity in tense conversations with other adults.) Argo certainly does not sensationalize or glamorize violence.
We need to reevaluate the movie rating system.
I think this film would be useful in the classroom. Now I’m not suggesting that students should be asked to consider the film’s version of events exclusively, but it certainly provides a wonderful jumping off point for further reading and discussion.
Argo is strong from the opening scene which sets an unexpected tone for the movie that follows. It made me think fondly of Marjane Satrapi’s Persepolis (and I just mean for the really obvious and totally shallow reason that it’s a comic about Iran). From the moment the action starts, the Iranian mob seems menacing, so the choice to give some perspective by explaining the mob’s motivations before showing it in action added welcome depth to the film. Obviously in two hours, the movie cannot do justice to the full complexity of the situation, but at least it can make us aware that the situation is complex.
Apart from the (fascinating) history and politics explored, Argo is a captivating piece of filmmaking, an entertaining and well-made movie on every level. Alexandre Desplat’s score is lovely, always situationally appropriate without being overwhelming. (Though I found it less captivating than the music for The Master and Beasts of the Southern Wild, I still think it has a shot at an Oscar nomination.) I can’t claim any expertise when it comes to things like set design, costuming, art direction, even cinematography, but my guess is this film will be a serious awards contender in these categories because the scenes in the US and Tehran seemed convincingly 1980s.
Suspense is what this movie does best. My husband said afterward that he didn’t know what the outcome would be. I felt pretty sure (not because of historical knowledge but because I’ve seen movies before. I felt kind of like Grandpa Simpson who when the family gathers nervously around the television set to see if Homer’s space shuttle will crash grumps, “Of course he’ll make it! It’s TV!” Sure, I know what kind of ending gets a project green lit, but just like Grandpa Simpson, maybe I was only kidding myself). Even if you go into the movie knowing absolutely everything about the situation (including the outcome), I’m pretty sure that the movie would still be suspenseful. Even if you don’t care about history or politics, this is an incredibly captivating and well told story. If there’s ever a biopic of my life made, I hope Ben Affleck directs it. (Or David O. Russell. He would be good, too.)
Most Oscar Worthy Moment (Alan Arkin):
Alan Arkin has reached that stage of his career where he wins awards just for showing up, and he does a lot more than just show up here, so I really like his chances for a supporting actor nomination. To be honest, I’ll be shocked if he isn’t nominated, (but I’ve been shocked before, and it is a competitive category). Going out on a limb, I’d say that Best Picture is the most likely nomination for Argo, but that of all the actors, beloved veteran Arkin is the most likely to get Oscar recognition for his work.
Arkin plays producer Lester Siegal who agrees to back the CIA’s phony sci-fi movie. Although there was a real Lester Siegal, apparently the character in Argo is a composite of several producers who were involved. The film’s end credits do acknowledge that artistic license has been taken. After all, the film is not a documentary.
In many ways, Siegal is one of the strongest characters in the story (hardly surprising now that I learn he’s the fictional one). It’s easy to root for him. He’s charismatic for a start. He’s also braver than he has to be. Bringing those endangered diplomats home is not his responsibility, but he steps up and makes it his responsibility as a fellow human being in a position to render aid. Audiences love a character like that, and I think the Academy is going to love him, too. (I mean, it’s like the screenwriter dropped a member of the Board of Governors into a hostage crisis flick to play the hero. What’s not to love?)
When he’s badgered for details by a reporter, Arkin’s Argo related comeback is probably the easiest thing to remember about the movie since the key players adopt it as a catch phrase. (Hearing it so often let me know that the movie was indeed rated R as I suspected it was and thought it shouldn’t be.)
Instead of having one big showy scene, Arkin is more of an engaging presence throughout. If I were to select an awards show clip, I’d go with his scene in the screenwriter’s office when he’s trying to secure rights to the script. He’s very showy there, though perhaps his joke about the WGA in the scene before would draw more applause from industry insiders.
Most Oscar Worthy Moment (Ben Affleck):
If I had the power to influence the Affleck brothers, I’d force Ben to stick with directing, and Casey to stick with acting, not that Ben’s acting is necessarily bad. Emphatic end stop.
In fact, I think Ben Affleck gives a perfectly serviceable performance as the very likable lead, devoted father and extractor extraordinaire, Tony Mendez. But when I call him out for an Oscar, I mean for directing. I went into the movie thinking Affleck’s a great director, but I left thinking that one day Affleck may be a Great Director. (You know, they’ll devote chic film festivals to his oeuvre, and he’ll be a subheading on whatever replaces Netflix.)
When did I know that Affleck was such a great director that I needed to rave about him with inappropriate capitalization and French buzz words? It was when the tower told the plane, “You are second for takeoff.” I think I even yelled out loud, sub voce, “Seriously?! Second??!”
This movie is so suspenseful. As the tense action unfolded onscreen, I went back and forth between thinking, “If they only had cell phones!” and “Thank God they don’t have cell phones!” Really, anything that could prolong the suspense in any way happens. By the end, you feel like you feel like your own life is on the line. If you’re a nail biter or tooth grinder, you’ll leave the theater in tremendous pain.
Now the thing is, in well made movies, suspense like this really works, but in poorly made movies, it just annoys you and makes you want to scream, “Will you get on with it already! This is taking forever!”
Those final bits of intense suspense made me aware of what a brilliant job Affleck had done because delays like this kept us on the edge of our seats instead of prompting us to role our eyes and groan.
Most Oscar Worthy Moment (Bryan Cranston):
Bryan Cranston seems to show up in a minor role in every movie made lately (which is fine with me), but here he gets a fairly hefty supporting part as C.I.A. agent Jack O’Donnell.
I think Cranston’s a dark horse for a nomination. He’s pretty far out of the discussion right now, but if the movie picks up steam, his chances may improve as well. The scene when O’Donnell is raging around the office trying to get President Carter on the phone is awfully good. When given the opportunity to rant and rave, some actors really go over-the-top and blow it, but Cranston channels tremendous intensity and authenticity into this showcase of his talents.
Most Oscar Worthy Moment (John Goodman):
With so many great supporting performances out there this year, I would be pretty shocked if Goodman got nominated. But a nomination for him wouldn’t upset me. He’s great in the movie, too, as make-up artist/CIA contact John Chambers, who unlike Lester Siegal is a real person, not a fictionalized composite. It’s extremely unlikely that Goodman will be nominated, but he’s great in the movie, and his first scene with Affleck’s Mendez in his trailer on set is pretty well played.
Most Oscar Worthy Moment (Chris Terrio):
I’d say that after picture, this movie’s most likely nomination will be for adapted screenplay. One element that made the screenplay exceptionally strong was the arc of the Joe Stafford character (well played by Scoot McNairy). His contribution in the airport scene is just marvelous. McNairy gives a good performance, but I think it’s the writing that’s outstanding.
Showing how Mendez’s relationship with his son influences his work is another strength of the script that Affleck uses to full advantage as director and star.
Best Action Sequence:
The storming of the embassy is done quite well in a series of early scenes, but the most exciting part of the movie is the extremely high-speed chase near the end.
Best Scene:
Best, I think, is the Farsi explanation of Argo. (The less said about it, the better. I don’t want to spoil the film.)
Another scene that works really well is the moment when two worlds collide on screen as the costumed read-through of Argo takes place at the same time as the situation escalates in Iran.
Funniest Scene/Best Joke:
Who doesn’t love Arkin’s transformation of the name Argo into a snappy comeback/crude expression of derision? That becomes less a joke than a rallying cry in increasingly desperate circumstances, but it’s good for a laugh, too. Arkin has lots of funny lines. So does Cranston. So does Goodman. In fact, considering the serious subject matter, it’s a very funny movie.
Some other great performances:
The supporting cast is very, very strong and composed largely of actors more known at this juncture for their work in TV. All of the hostages do a fantastic job. It feels like I haven’t seen Tate Donovan in anything this substantial since he was dating Jennifer Aniston. (Maybe it’s just that he’s a regular on shows I don’t watch.) He’s good, though I liked Scoot McNairy and the two women the best. Clea Duvall’s character is admirably strong, almost the strongest female character in the movie.
The biggest standout as far as I’m concerned was Sheila Vand as Sahar, the Canadian ambassador’s housekeeper. She has a couple of really wonderful scenes, first as she watches events happening at a neighboring house through an upstairs window, and then when she has a conversation with some soldiers (or maybe police) at the gates of the house.
The character is used to build suspense, but Vand manages to make her something far more than a plot device. The intensity and humanity she brings to the role is outstanding. Her eyes are so expressive, and, in fact, quite beautiful.
I also remember Philip Baker Hall and Tom Lenk being in the movie, mostly because they’re Philip Baker Hall and Andrew from Buffy. (Oddly enough, Philip Baker Hall is not listed in the cast, but I am willing to bet my life that he’s in the movie.) (You know, that’s extreme. I’d better double check. Yes, let’s just leave my life out of it and say that Hall does appear uncredited.)
The Negatives:
The only thing that felt slightly off to me was the scene when Goodman and Arkin keep being told not to cross the movie set. It just felt a little forced. In light of what they’d been told, why were they in such a hurry to get back to the producer’s room? Did the guy telling them to wait just annoy them? That scene felt slightly less authentic than the rest of the movie.
I’ve read that some Canadian audiences felt that the film negatively minimizes Canadian involvement and that to address those grievances, Affleck added some material to the end credits. Personally, I think the Canadian ambassador and his wife (and particularly their maid) come across as extremely noble, heroic, and courageous.
How can you watch the movie and think anything else? After all, they were the only people willing to harbor the six Americans and risked their lives in doing so. And without the cooperation of the Canadian government (which seemed more consistently supportive than our own government), the entire extraction would have failed before it even got off the ground.
Overall:
Argo is definitely a contender for a Best Picture nomination. Even a win seems within its grasp. It should get several Oscar nominations and is without question one of the best films I’ve seen this year. It tells a wonderfully compelling (and almost ridiculously suspenseful) story and features solid performances from a capable cast. Ben Affleck the director is three-for-three, and this is his strongest feature yet. It’s fantastic.
Oh yes, and I loved the surprise cameo guest narration at the very end!