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the Teuton-accented trio of Philip Seymour Hoffman,
Rachel McAdams and Willem Dafoe, a risky casting decision that
ultimately pays off, this decidedly low-pulse endeavor will put off
viewers who like their spy thrillers with a bit more oomph, but should
court plenty of intrigue among discerning arthouse-goers who see the
name “John le Carre” and know what they’re in for.
The German port city of Hamburg was where Mohammed Atta and his
collaborators planned the Sept. 11 attacks, a fact that has kept
intelligence operatives there on high alert more than a decade later.
It’s against this tense backdrop of justified paranoia and lingering
shame that rumpled, hard-drinking Gunter Bachmann (Hoffman) runs a
secret anti-terrorism team seeking to develop sources within the Islamic
community that will lead them to higher-profile suspects. It’s a risky
task, requiring patience and sensitivity as well as a willingness to
hold back and negotiate, and in this Bachmann finds himself continually
at odds with paper-pushing Hamburg intelligence head Dieter Mohr (Rainer
Bock), who would rather arrest first and ask questions later.
The subject of their latest clash of wills is 26-year-old Issa Karpov
(Grigoriy Dobrygin), a half-Chechen, half-Russian immigrant who turns
up in Hamburg looking half dead. Having suffered torture and
imprisonment in both his native countries, he takes shelter with a
Muslim woman (Derya Alabora) and her son (Tamer Yigit), and quickly
connects with Annabel Richter (McAdams), a passionate young human-rights
attorney who agrees to help Karpov claim an inheritance worth tens of
millions of Euros. Classified by authorities as an escaped militant
jihadist, this disheveled man of mystery is of immense interest to Mohr,
who wants him arrested before he can make contact with Islamic
terrorist cells, but also to Bachmann, whose instinct is always to
pause, look at the bigger picture and make the most strategic move.
To that end, Bachmann reaches out to both Richter and Tommy Brue
(Dafoe), head of the bank that is holding the desired funds. Both of
them will play key roles in Bachmann’s plan to lay a trap — not for
Karpov, but for Dr. Faisal Abdullah (Homayoun Ershadi), a respected
Muslim academic and philanthropist whom the team has been tracking for
months, and who is suspected of secretly backing terrorist activity by
way of donations to a Cyprus-based shipping company. Bachmann is given
72 hours to pull it all together, thanks to some leverage provided by
Martha Sullivan (a raven-haired Robin Wright), a slippery and formidable
CIA agent who articulates, not without irony, the ostensible reason why
she and Bachmann do what they do: “To make the world a safer place.”
In that respect, far from being merely a grab for a broader
international audience, the casting of actors like Hoffman and McAdams
(the German accents jar for about a minute before the actors vanish into
their roles) subtly underscores the universality of this particular
story. It may be set in Hamburg, but the themes it addresses — about
legacies of failure and incompetence, and the difficulty of getting
people to work together even for some elusive collective good — are
applicable anywhere, not least in the world of post-9/11 American
counterintelligence.
Up until its grimly compelling final stretch, when the pieces of
Bachmann’s plan are finally aligned and set in motion, “A Most Wanted
Man” is not an action movie in any conventional sense. Thinking and
talking are its primary modes of action; the most startling thing we see
is a character getting snatched and thrown into the back of a van. If
there’s a thrill here, it’s not so much in the plot’s gradual
accumulation of twists and turns, but rather in the way le Carre’s
bleak, unyielding worldview seeps into your nervous system. Chilly as
that sounds, Corbijn brings a sympathetic touch to even the seemingly
least significant characters, and he proves especially sensitive to the
ways in which all of them are wrestling with an inheritance of sorts — a
literal one for Karpov and an emotional one for Richter, whose
human-rights work reps a conscious attempt to reject her privileged
upbringing.
First among equals in the fine ensemble, Hoffman brings a superbly
world-weary quality to the role of Bachmann, whose subtle methods are
predicated on a deep understanding of human complexity and the reality
that no one is either fully good or fully evil — an insight that makes
for good detective work, and good drama as well. Making perhaps the
strongest impression among the German actors is the brilliant Nina Hoss
(“Barbara”) as Bachmann’s trusted deputy, while Iranian thesp Ershadi
(“Zero Dark Thirty,” “Taste of Cherry”) brings a natural dignity and
gravitas to the role of the targeted Dr. Abdullah.
The film was shot on location in Hamburg by Benoit Delhomme, whose
crisp compositions are marred only by a sometimes overly wobbly camera,
in a needless attempt to channel a sense of real-world anxiety. Herbert
Groenemeyer’s score is subtly deployed in line with the tenor of the
proceedings, but nonetheless keeps the picture pulsing along.
Sundance Film Review: 'A Most Wanted Man'
Reviewed at Sundance Film Festival (Premieres), Jan. 17, 2014. Running time: 121 MIN.
Production
(Germany-U.S.) A
Lionsgate (in U.S.) release presented with Roadside Attractions.
(International sales: FilmNation Entertainment, New York/Beverly Hills.)
Produced by Stephen Cornwell, Gail Egan, Malte Grunert, Simon Cornwell,
Andrea Calderwood. Executive producers, John le Carre, Tessa Ross, Sam Englebardt, William D. Johnson. Co-producer, Helge Sasse.
Crew
Directed by Anton Corbijn. Screenplay, Andrew Bovell, based on the novel by John le Carre. Camera (color), Benoit Delhomme; editor,
Claire Simpson; music, Herbert Gronemeyer; production designer,
Sebastian Krawinkel; art director, Sabine Engelberg; set decorator,
Yesim Zolan; costume designer, Nicole Fischnaller; sound, Gareth Johns;
supervising sound editor, Frank Kruse; re-recording mixer, Martin
Steyer; special effects supervisor, Peter Wiemker; visual effects
supervisor, Malte Sarnes; stunt coordinator, Ronnie Paul; line producer,
Arno Neubauer; associate producers, Rhodri Thomas, Klaus Dohle;
assistant director, Scott Kirby.
With
Philip Seymour Hoffman, Rachel
McAdams, Grigoriy Dobrygin, Willem Dafoe, Robin Wright, Homayoun
Ershadi, Nina Hoss, Franz Hartwig, Daniel Bruhl, Kostja Ullmann, Vicky
Krieps, Mehdi Dehbi, Rainer Bock, Tamer Yigit, Derya Alabora, Herbert
Gronemeyer, Charlotte Schwab, Max Vokert Martens, Bernhard Schutz,
Martin Wuttke, Ursina Lardi. (English, German dialogue).
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