|
|
Face/Off Review by Eddie Cockrell
Adventurous moviegoers who succumb to the kinetic spell of Face/Off (and there should be lots of them) are advised to take a deep breath before trying to communicate their enthusiasm to the uninitiated. For as in the very best work of Hong Kong émigré director John Woo, complex melodrama and elaborate mayhem bond with the epoxy of florid masculine metaphors to give the story a propulsion that rockets it over numerous outlandish plot points. In Woo's world, movement for the sake of movement is all, and an overriding sense of honor (called "face" in Asia and one of many puns embedded in the title) endows his characters, antagonists and protagonists alike, with a grace and elegance unmatched in genre cinema. This can be difficult to verbalize. But do try: a grand and glorious summation of his work to date (Woo's been making comedies and action films for nearly twenty-five years), Face/Off is also the most charismatic and substantial summer popcorn movie in a very great while. There; that should sell it to puzzled friends, don't you think?
Sure it sounds ridiculous on paper, and there are points during the film's two hours and eighteen minutes where audiences will audibly groan at the proceedings. Yet Woo is perfectly comfortable in this universe by virtue of the florid male bonding of The Killer (1989) and the balletic, breathtakingly imaginative violence of Hard Boiled (1991) -- to name but two of his previous triumphs. That he pulls it off yet again is a credit not only to his fearless staging of intricate action scenes (including one in which a small boy listens to "Somewhere Over the Rainbow" as a battle rages around him) but the gleeful synchronicity of Travolta and Cage, who appear to be immensely grateful for the opportunity to chew lustily on every scene they're in.
The metaphor of perception extends to the rest of the cast, with Nivola's Pollux posturing like a refugee from an Oasis photo shoot, Swain dabbling in Goth light make-up to make her parents notice her, and the emphasis of Allen's waif-like presence in service of her satisfying subplot (although her surreptitious blood testing of a sleeping Archer -- no, wait, Castor in Archer's body... uh, go on without me...) is the movie's surefire howler highlight. This duality culminates in a sublime moment when Archer and Castor are separated by nothing but a double mirror, and must shoot at their own reflections to get at each other. Sledgehammer symbolism to be sure, but seductive nonetheless.
Though they remain objects of derision in some snobbish quarters and achingly formulaic overall, the big-budget Hollywood action film has shown definite signs of positive evolution over the last half-dozen years. The dumber ones have mimicked only the surface -- guys holding ever more imaginative weaponry at odd angles, frantic crosscutting balanced with slow-motion stuntwork -- while the shrewder ones have built their implausible tales on eccentric characters and a large dose of melodrama. From whence does this inspiration come? His name is John Woo, he was born in China in 1946, raised in Hong Kong and has been directing comedy and action films there since 1973. In 1986, his romantic gangster film A Better Tomorrow began a steady ascension that now reaches a triumphant peak. With Face/Off, his third American feature and second under the banner of his WCG Entertainment (partnered with Terence Chang and Christopher Godsick) Woo has taken seemingly every weapon in his formidable arsenal and hurtled it at an unsuspecting American public. His is a world of heroes and villains as metaphorical brothers; sunglasses as a reflection of personality; churches as perfect settings for complex gunfights; doves as expressions of innocence lost and fates sealed; speedboats as, uh, speedboats; and, of course, guns -- lots of loud, shiny guns pointed directly in people's faces. If all this posturing looks vaguely familiar, well, the circle now comes back around to the Hollywood co-opting of these elements in other movies (Quentin Tarantino -- built his whole career, such as it is to date, on his admiration of this style).
The deserved but not guaranteed success of Face/Off would certainly make it easier for these people and this style to gain footholds in the system, and, therefore, in the popular consciousness. The challenge then, avoided to date, will be to keep this peculiar cinematic conceit fresh in the face of inevitable parody (by their very nature these films are almost parodies of themselves already). But certainly such doubts are for the colder months. As summer blockbusters come and go like streetcars, Face/Off runs the same risk that a movie without dinosaurs or bat-signals runs of becoming lost in the shuffle. Regardless of its fate, Face/Off is the most satisfying, preposterous, yet personal of the season's big-ticket action movies to date. And that's a recommendation sure to lure even the most reluctant and skeptical to the googolplex, where eventual conversion then becomes a given. Contents | Features | Reviews | News | Archives | Store Copyright © 1999 by Nitrate Productions, Inc. All Rights Reserved. |
|
|