Argo (2012)

I’ve been on record as saying that Ben Affleck is a better director than an actor (the former often helping the latter), and with Argo Affleck three-peats with another suspenseful thriller that, despite a true-story foregone conclusion, ratchets up the anxiety.

In addition to working behind the camera, Affleck stars as Tony Mendez, the CIA’s top exfiltration agent.  Since he specializes in getting people out of hot spots, Mendez is called to consult on the case of six Americans in Iran who escaped the 1979 embassy hostage crisis but are holed up in the Canadian ambassador’s home.  To do so, he forms a fake movie company with the support of a prosthetics designer (John Goodman) and a once-was director (Alan Arkin).  Thus armed with “the best bad idea we’ve got,” Mendez flies to Iran to establish cover stories to disguise the refugee embassy workers as a film crew.

Surprisingly for the man who starred in such trainwrecks as Gigli and Daredevil, Ben Affleck is shaping up to be one of this generation’s better directors.  With Gone Baby Gone, Affleck established a cinematic style for himself that relied on tension and suspicion, while in The Town Affleck added himself in front of the camera, demonstrating both directorial consistency and better acting than he’d done in years.  Argo, then, completes the hat trick with another taut thriller in a nail-biting setting.

Affleck uses claustrophobia to great effect here, giving the sense that the walls are closing in.  Absent are the spacious CIA interiors we’ve come to expect since Homeland or the James Bond flicks; instead we get an intelligence office where the ceiling is too low, the lighting dim, and the tempers high.  Similarly, Iran is a place swarming with bodies, physically and ideologically oppressive.  All of this is captured in the film’s visual language, which builds an effective sense of discomfort even though we know that the ending is going to be a happy one.

But the film isn’t all gloom and doom.  In the best film tradition, the film defuses weighty subject matter with a talented cast of lighthearted characters, where the humor isn’t always dark.  As a CIA head honcho, Bryan Cranston continues his inter/post-Breaking Bad career revival by popping tense moments with an expertly timed one-liner (the result, no doubt, of his comedic training).  Also fun to watch are Goodman and Arkin, the film’s ostensible Rosencrantz and Guildenstern, who manage to balance patriotism with pathos, solemnity with comedy; true, they play the same characters they’ve always played – the gregarious goliath and the cantankerous old man – but they play it well, their star power and recognizability even helping their performances as Hollywood power brokers.

Conversely, Affleck wisely casts relatively unfamiliar character actors as the escaped hostages.  You’ll probably recognize them in passing, in a “Where have I seen her” kind of way, but it won’t distract; rather, it underscores the universality of the story Affleck is telling.  Likewise, familiar face Victor Garber hides under a wig and thick glasses to portray the Canadian ambassador as a paternalistic shepherd.  The cast clearly has chemistry among themselves – the refugee hostages in particular – but they’re also quite good at subtle glances to indicate internal stress or some emotional backstory.

While it isn’t enough to put him in the same strata as Scorsese or Nolan, Argo does demonstrate that Ben Affleck’s recent string of successes has not been a fluke.  Rather, I’d say we’re looking at a contender once the Oscars roll around.


Argo is rated R “for language and some violent images.”  The F-word is dropped several times in the film, often as part of a hilarious catchphrase, and the film’s depiction of Islamic fundamentalists may be disturbing or frightening for some, though the film is mostly bloodless.

Come back on Wednesday for The Cinema King’s review of Looper – stay tuned!