“Argo” (2012)
“It’s like talking to those 2 old fucks on The Muppets!”.
“It’s like talking to those 2 old fucks on The Muppets!”.
I originally penned my rambling musings on Argo as part of a three piece article (now four) on the films directed by Ben Affleck toward the end of 2012, and before the Oscars season of 2013. I tipped Argo for Oscars success (according to my decade’s old ramble below) and so it was that Ben Affleck tasted Oscar success once more as Argo won three Academy Awards from their overall nomination of seven, including the most coveted of all, “Best Picture”.
Wholly biased though I may be, the success at the 2013 Oscars was rightly due and on the back of two rather impressive films with Ben Affleck at the helm. Gone Baby Gone was an incredible debut film for director Affleck in 2007 and whilst The Town three years later is good, Argo became the Oscar triumph. As you can read below if you wish, in addition to the re-produced review of Argo, I rather fondly remember seeing his 2016 film Live by Night at the cinema and suffice to say, I like it far more than the critical panning it received at the time!
Air will be Affleck’s fifth release from the directors chair in April 2023.
Starring himself, his good friend Matt Damon and Jason Bateman, according to our good friends at www.imdb.com the film depicts “Nike in its pursuit of the greatest athlete in the history of sports: Michael Jordan”.
Ben Affleck 4 films for your consideration
“Gone Baby Gone”, “The Town”, “Argo” and “Live by Night”. All lovingly appreciated and spoiler free.medium.com
“Brace yourself. It’s like talking to those 2 old fucks on The Muppets”.
With no opening credits to speak of, we are straight into a peculiar mix of real life pictures and images of the day merged with cartoon style depictions of a brief Iranian back history, dating back to 1953 which, dare I say it, lifts the lid on the so called “Western Influence” of legal and illegal manoeuvres, of clandestine CIA operations to remove and install Shah’s and it’s consequences for both Iran and for the world. So long the domain of conspiracy theorists, this is both refreshing to see and an early insight into the film, giving a true historical perspective on the overthrows/installation of Western sanctioned Shah’s over whom the USA/West can wield their sphere of influence. The somewhat bizarre mixing of real life and cartoon style imagery is also a perfect introduction to the film, as despite being a political thriller (and a very good one at that) it’s also very funny in places, and darkly funny in others.
As such, my appraisal will reflect this, concentrating both on the dark opening ten minute scene and the lighter, funnier moments, but first, a very brief premise:
Six USA Embassy diplomatic employees have been forced to take refuge in secret with the Canadian Ambassador to Iran. Tensions between USA and Iran are at an all time high and with the hostage crisis escalating, the answer to releasing the hostages is down to one man, and the creation of a fake film called Argo. The actual film itself is based on a screenplay by Chris Terrio, the book “The Master of Disguise” by Antonio J Mendez and an article entitled “Escape from Tehran” by Joshua Bearman.
“Based on a true story”: The opening ten minutes is a tour de force, mixing old stock footage of the day’s actual events with filmed re-creations, the first example of which is a burning Star and Stripes flag amid an angry crowd outside the Embassy. Cutting to concerned staff inside, quickly amongst all present, then back to the angry crowd now breaching the Embassy gates. Constant cutting between four narratives now drive the story, the angry crowd as they approach the Embassy, CCTV footage and security staff preparing to use tear gas, to the staff themselves now frantically burning and shredding documents. Still mixing stock footage from the day and weaving the four strands, the Embassy now breached and with power failing in the building, the six diplomats have to evacuate.
The crowd scenes are particularly intense with a constantly moving camera right in the middle of the chaos, often providing a real blur and on some occasions a completely distorted picture. They seem the longest shown of the four narrative strands, hectic and claustrophobic. Key throughout is the use of stock footage, but not of the crowd, more President Jimmy Carter’s addresses to the nation and radio commentaries and TV “specials” of the day.
Balancing this thriller is a real heart centred and extremely funny at times end to Act One, and an introduction to three key players in the film. “Tony Mendez” (Ben Affleck) a CIA consultant and ex filtration specialist has the final go ahead to create this fake film but in order to do so must create the very real illusion of a real, bona fide film being made. In doing so he recruits the help of “John Chambers” (John Goodman), a Hollywood make up artist and “Lester Siegel” (Alan Arkin), a Hollywood Producer. This narrative strand runs through the remainder of the film, however to reduce spoilers to a minimum I’ll concentrate solely on when two or all three of these characters share screen time as it’s the most openly funny segments of the film, and some of the most affecting.
Meeting in John’s chaotic trailer for the first time, Tony lays out his proposal to the incredulity of a bemused yet supportive John. Goodman here is subtly brilliant (as always) with his facial responses painting a thousand stories and ideas. One of my burgeoning cast of favourite actors, he ends the short scene with both a moniker and metaphor for the film itself:
“So you want to come to Hollywood, act like a big shot and do nothing?
“You’ll fit right in”.
Quickly we move to their next get together, another short scene in a restaurant:
More playful wisecracking and in jokes, culminating in a self deprecating jibe at Director Affleck:
Mendez: “Make me a Producer”.
Chambers: “No, you’re an…an associate producer at best”.
What follows is a short scene introducing the great Alan Arkin as Hollywood Producer Lester Siegel and a stand out scene whereby Arkin dominates with a pop culture referenced side swipe at the project and a subtle endorsement. Two cameras, one on Arkin, the other on a smiling Goodman, it’s a simple yet effective scene and darkly funny.
Mendez: “Fade in on a starship landing, an exotic middle eastern vibe. Women gather offering ecstatic libations to the Sky Gods. Argo — a science, fantasy adventure”
Siegel: “It’s a turnaround. It’s dog shit!”
A brilliant short scene, two main cameras cutting between the two as their fake film is the furthest thing from their minds and their intimate discussion.
The final joint scene between the three occurs during a script read through, a bizarre, darkly funny and surreal scene which is inter cut throughout with more real life stock footage of the day.
Both Director and Actor Ben Affleck excel throughout this fantastic film. No doubt tipped for Oscars success, a film similar in many ways to Syriana (highly recommended) starring George Clooney, who also Produces Argo here. Both share a tension, an unknowing, a fragile state that could at any minute trap it’s protagonists. Far funnier than Syriana, aside from the in jokes and knowing nods and smiles is a darkly rooted comedy which compliments the tense thriller.
The Director of Photography Rodrigo Prieto is also deserving of special praise as many of the film’s set pieces are brilliantly depicted and brought to life. Scenes such as inside the Turkish citadel, the hostages claustrophobic living space and scenes together in general, and especially the longer scenes inside Iran. All framed and lit brilliantly, it falls to Affleck’s direction and William Goldenberg’s editing to propel the film. All scenes feel short, punchy and driven to tell the story, complicated though that is with interweaving narratives and stock footage. Rarely are there “standard” shots, the camera is always moving, zooming, focusing on inanimate objects before adjusting it’s focus on the actors. The moving camera is particularly noticeable, especially within the confines of the CIA office and Affleck’s first introduction to the film, but similarly within the crowd scenes and again especially within the latter scenes in Iran.
With a frightening mirror to today’s world (the Westernisation of Iraq/Iran/Syria/Egypt, references to the war in Afghanistan and Patriots stating the case for more overseas wars), as well as Lester’s telling exclamation at the constantly shown news coverage “Bad news. Bad news. Even when it’s good news, it’s bad news”, this is Affleck’s most mature and assured film to date. Combined with Alexandre Desplat’s brilliant musical score and a stand out use of Led Zeppelin’s “When the Levee Breaks”, it’s a thorough joy of a film, thought provoking, funny and a suspense filled piece of cinema. Highly recommended.
Oh, and by the way
“Argo Fuck Yourself!”.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 200 blog articles (with 400+ individual film reviews) within my archives from which to choose:
“Moonlight” (2016)
Barry Jenkins multi Oscar winning gem.medium.com
“Babel” (2006)
“They look at us like we’re monsters”.medium.com
“Inception” (2010)
The Best of Christopher Nolan — Vol 5.medium.com