Tag Archives: Spy

Phillip Noyce and Harrison Ford’s Jack Ryan: Patriot Games and Clear & Present Danger

Tom Clancy’s Jack Ryan has had a few iterations over the decades, the last two of which were sadly lukewarm efforts, but for my money Harrison Ford and Philip Noyce gave the best version with the explosive double feature of Patriot Games and Clear & Present Danger. Star studded across the board, gifted with long runtimes, huge budgets and intelligent scripts, these are two enduring espionage films that I always have a place for on my DVD shelf and always tune in to if I come across them on TV. Ford is a heroic presence in cinema, and although his actions as Ryan are violently intrepid, he gives the character an unsure edge and resounding vulnerability that is always compelling and offsets the intrigue as great character work. This guy is an analyst after all, not a field agent and the portrayal should reflect that.

Patriot Games kicks off with Ryan in a brutal personal war against a rogue faction of the IRA, a tense conflict that reaps collateral damage on both sides. The two constant characters who ground both Ford and Ryan are his boss and mentor Greer (James Earl Jones) and his wife Cathy (Anne Archer), they keep him humble, human and sympathetic amongst all the chaos and political intrigue. Sean Bean is scary good here as Miller, renegade Irish operative whose plans are foiled early on by Jack, prompting him to swear bloody revenge on his whole family in a courtroom scene that is as chilling as Bean has ever been. Paranoia sets in as countless attempts are made against his and his families life, and even reassuring words from an IRA honcho (Richard Harris) who denounces Miller can’t set Ryan at ease. Only the eventual confrontation puts an end to it, which we get in a spectacular nocturnal speedboat chase across a Maryland harbour. The talent includes Thora Birch as Jack’s daughter, J.E. Freeman, Patrick Bergin, James Fox, Polly Walker, Bob Gunton and a young Samuel L. Jackson.

Clear & Present Danger sees the headstrong US President (Donald Moffat, never one to not devour dialogue like a good steak) declares war on marauding cartels from South America, another conflict that Ryan gets thrown into headlong both on location and back on the home front. Their leader (Miguel Sandoval) is a hotheaded moron, but the real danger lurks in Felix Cortez (Joaquim De Almeida, a spectacularly nasty villain), advisor, assassin and deadly power behind the throne who has ideas of his own. This entry is slightly more epic and action centric but the homeland espionage is played up too, particularly in the corrupt actions of two impossibly sleazy suits back in Washington played by Henry Czerny and Harris Yulin. They are so good in their roles they almost steal the film, especially Czerny as the ultimate prick and absolute last person you’d want making decisions for their country. Ford is less seething than he was in the very personal conflict of Patriot Games, but no less resourceful and violent when he needs to be. Willem Dafoe fills the boots of John Clark, a Clancy staple character and ruthless tactical agent who sometimes functions as a one man army. Further work is provided by Benjamin Bratt, Raymond Cruz, Dean Jones, Ann Magnuson, Patrick Bauchau and Hope Lange.

These two are not only great action spy films but to me represent an oasis of 90’s filmmaking that has never been replicated. Enormous casts, every dollar of the budget onscreen, timeless original scores (courtesy of James Horner here), vivid action set pieces, equal parts focus on story and action, no CGI in sight, character development and all round consistency in craft and production. I grew up with these two classics, watched them countless times with my dad and will always tune right back in whenever they’re around.

-Nate Hill

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STEVEN SPIELBERG’S BRIDGE OF SPIES — A REVIEW BY NICK CLEMENT

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Steven Spielberg’s Bridge of Spies is a good story that’s well told, thoroughly absorbing, and spectacular in terms of production values. Tom Hanks and Mark Rylance are wonderful, with the latter putting on a subtle acting clinic for the ages, and the former reminding us how consistently excellent he is as our American everyman. The screenplay often times tells when showing would have been enough, but that’s The Beard for you from time to time, and it’s interesting to note the screenplay involvement of the Coen brothers on this project. There’s nothing surprising in terms of the plot – the film is based on a true story so there’s not much that could or should have been changed, and while the film never becomes as suspenseful as it might have liked, there’s a reliable, old-fashioned quality that comforts the viewer with a sense of solid familiarity. Janusz Kaminksi, as usual, shows off his stuff as cinematographer, bathing the film in blues, greys, blacks, shadows, snow, and his customary shafts of blinding, white light streaming through windows; this film feels cold and shivery, with the extraordinary production design by Adam Stockhausen totally evoking the bombed out ruins of post WW-II Germany, just as the Berlin wall was being constructed. There’s a magnificent shot in this film of a character riding his bike along the edge of the wall, showing the hectic maneuverings of everyone involved on a political, military, and social level, as the camera catches small bits and pieces of visual information that helps to paint a portrait of impending sadness. The narrative focuses on a POW/spy swap between the Americans and the Russians during the peak of the cold war, and Spielberg, as usual, knows exactly how to get the proper mileage out of his studied locations, fantastic mise-en-scene, and performances that are never less than splendid. Bridge of Spies the sort of film that The Beard could have directed with one armed tied behind his back, and that’s not a knock, but rather, a statement that suggests supreme confidence with this sort of historically rooted material; this is his genre and he knows how to deliver the expected goods.

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