“Snowpiercer”–Don’t Get on This Train

Snowpiercer

“Snowpiercer“(2013), directed by the Korean master Bong Joon-ho (of “Mother” fame) is a sci-fi dystopia in the year 2031, after a failed climate-change experiment seventeen years before has frozen all of Earth and wiped out all life, except for the survivors on a bullet train–Snowpiercer–  traveling across the globe in a self-contained ecosystem. The  train is class-structured with the poorest in the back suffering like slaves under grotesque conditions and the 1 % in the front with every luxury imaginable, epitomized by spa pools, floor-to-ceiling aquariums, and sushi bars.  Curtis (Chris Evans from “Captain America”), a passenger who is in the back of the train, wants social change and a wise old man named Gilliam (John Hurt) helps him.  Curtis’s  friend, Edgar (Jamie Bell),  and a mother (Octavia Spencer) of a child seized from her also are determined to change their destiny.

The scene-stealer is Tilda Swinton, virtually unrecognizable as the spokesperson for the privileged ruling class.  Every shot she is in perks up this two-hour film that, although carefully crafted and loaded with special effects, has a story that does not arc properly, dragging in plot points until another over-the-top fight scene tries to grab the audience’s attention. Swinton2

“Snowpiercer” is Korean director, Joon-ho Bong’s first English-language film with a combination of A-list Korean actors and exceptional American ones.  I am not the right demographic for this film.  It is a  thriller for the audience who loves “300” (mainly under-30 males) with long fight scenes and special effects that chew up any story or semblance of one.  If you want to see a masterpiece by Bong, rent “Mother”and don’t get on this train.

 

‘Tinker, Tailor, Soldier, Spy”–Not Enough Tinkering for My Taste

This cinematic remake of the landmark mini-TV series from 1980, starring Alec Guiness, is updated with Gary Oldman in the starring role that Guiness made so famous. Based upon the John le Carré espionage thriller,  “Tinker, Tailor, Soldier, Spy” dramatizes British secret intelligence–nicknamed “The Circus” –during the early 1970s Cold War.

Control (John Hurt), the chief intelligence operative, is forced into retirement because a covert operation failed to identify a double agent or “mole”. Forced into retirement along with Control, Smiley (Gary Oldman) has been ordered back into service to trap the mole, after Control dies. Alongside the young intelligence officer Peter Guillam (the ever-watchable Benedict Cumberbatch), Smiley tracks four primary suspects: Bill Haydon (Colin Firth), Percy Alleline (Toby Jones), Roy Bland (Ciaran Hinds) and Toby Esterhase (David Dencik).  Information Smiley obtains eventually leads him to Ricki Tarr  (TomHardy), the dirty “cleaner” for British intelligence’s most repugnant operations.

The pacing during the first half of the film–with multiple flashbacks to Budapest, Paris, and Istanbul–forces the viewer to assimilate and track approximately a dozen key characters—most of whom go by at least two names—in very slow tempo, making connecting the dots and characters more difficult than necessary.  Perhaps the director (Tomas Alfredson) thought this would build suspense, but for me the characters became confused and undeveloped.  Motivations were insufficiently revealed.  Private lives were obscured as well as loyalties and betrayals.

While I did not expect the brisk spy action or glitzy glamour of the Bourne series or even BBC’s Masterpiece Mystery, the first half of this remake is so languid I started to get drowsy. Photographed well for where and when it took place, the footage does give a sense of the Cold War in grey, drizzly tones and mood.

The film must be judged on its own merits, with the viewer given enough subtle cues to conduct an investigation along with Smiley.  Characterization wise, “Tinker, Tailor, Soldier, Spy” falls short.  The storyline necessary to keep the audience’s interest faltered, especially for those who are seeing this movie as a stand-alone narrative without reference to any previous work.  However, the much-better second half of “Tinker, Tailor, Soldier, Spy” comprises a more complex, intricately woven plot of tension, cold-war paranoia, and deception.

With a veritable dream team of the finest names in modern British cinema, – Oldman, Firth, Hinds, Cumberbatch, Hardy, Strong and Hurt–the concomitant achievement in cinematic storytelling I expected unfortunately did not happen. All of these extraordinary actors’ supporting roles at times eclipse Gary Oldman’s subdued performance but ultimately are wasted talent in this version of “Tinker, Tailor, Soldier, Spy”. Without having read the book or seen the 1979 version, it will, most likely, be very difficult to fill gaps in the narrative. Important plot points and clues just aren’t there–a more tailored approach to le Carré’s work was needed, even with le Carré providing supervision of the screenplay!