by Takis Garis (@takisgaris)
Episode 8 - AR-GOing for Oscar gold
> ARGO (7/10)
Are you superstitious? It has so happened twice in the last couple of years here at TIFF, that a film which premieres on the first Friday of the festival goes all the way to win oscar gold. The King’s Speech was first and then came The Artist. Guess what; Ben Affleck’s third film after Gone Baby Gone & The Town, named by the ancient greek ship Argo, has just started Friday its award-race sail, getting an enthusiastic reception by critics and audience alike. The main ingredients that make for this early kick- start are:
Are you superstitious? It has so happened twice in the last couple of years here at TIFF, that a film which premieres on the first Friday of the festival goes all the way to win oscar gold. The King’s Speech was first and then came The Artist. Guess what; Ben Affleck’s third film after Gone Baby Gone & The Town, named by the ancient greek ship Argo, has just started Friday its award-race sail, getting an enthusiastic reception by critics and audience alike. The main ingredients that make for this early kick- start are:
Based on a real story: The US-Iranian 1979-1981 crisis that peaked with the Iran hostage incident, where a US embassy personnel of 6, found refuge at the house of the Canadian (humble brag) ambassador. With a little help of Hollywood, CIA staged project – Argo, a sci fi fake production, gave those people a free passage as film crew.
Ben Affleck is already an oscar winner (shared it with friend Matt Damon for the Good Will Hunting screenplay), mediocre actor (not even counting his invisible turn at Malick’s To The Wonder), but a particularly solid filmmaker who exhibits continuous improvement. This is the so called The Clint factor, a term quite explanatory in itself. Or, to be exact…
The Clooney factor which sits a level (or two) before the above. It should be duly noted that Clooney shares producing credits here.
Argo is getting a release in the heart of the presidential campaign, it can be construed as the perfectly patriotic movie, in support of the good old “evil arab” stereotype, in times when the ever present militarist lobby in US, pushes for an escalated conflict with Iran.
The Wag The Dog script (found here in reverse) is always alluring for Hollywood insiders, plus it provides limitless opportunity for caustic satire.
Ben Affleck is already an oscar winner (shared it with friend Matt Damon for the Good Will Hunting screenplay), mediocre actor (not even counting his invisible turn at Malick’s To The Wonder), but a particularly solid filmmaker who exhibits continuous improvement. This is the so called The Clint factor, a term quite explanatory in itself. Or, to be exact…
The Clooney factor which sits a level (or two) before the above. It should be duly noted that Clooney shares producing credits here.
Argo is getting a release in the heart of the presidential campaign, it can be construed as the perfectly patriotic movie, in support of the good old “evil arab” stereotype, in times when the ever present militarist lobby in US, pushes for an escalated conflict with Iran.
The Wag The Dog script (found here in reverse) is always alluring for Hollywood insiders, plus it provides limitless opportunity for caustic satire.
Furthermore, Affleck’s team in the technical unit(s) has been attentive to historical detail, despite the distasteful hair jobs and excessive use of real footage of the era and taken into account that, obviously Iranians would not fall for the same prank twice in 30 years. On a personal note, the shot in Constantinople’s (Istanbul) Agia Sophia cathedral made my heart shrink to the size of a pine seed. Ben himself shouldn’t reserve the lead (the CIA agent/ARGO mission head that saves the day) for himself but at least we are generously compensated in the supporting roles department, from scene-stealer Alan Arkin (sure nomination) as the old timer director, to “Breaking Bad’’ sensation Brian Cranston as Affleck’s boss at CIA. Nonetheless, it’s always a thrill to have John Goodman aboard, as the oscar- winning (wink-wink) make- up artist for The Planet of The Apes, even though he could have a meatier role. Argo plays well by all oscar friendly rules, never goes astray and that’s its main issue with me. The final scene as much as the closing credits aim to an overly crowd-pleasing effect and I sense that Affleck should (and he shows almost ready to) step up, so that he’ll eventually reach A’ list directorial status. Plus, just for the record, there was another film that opened same day in TIFF12, with definitely more grandiose status: It was The Master by P.T. Anderson.
gaRis
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