The Interpreter
3/4
Starring: Nicole Kidman, Sean Penn, Catherine Keener, Jesper Christensen, Yvan Attal
Rated PG-13 for Violence, Some Sexual Content and Language
"The Interpreter" is rare in the sense that it not only has a brain, it demands that the audience use theirs. Those expecting action, gunfights and explosions are going to be disappointed. Don't get me wrong, there is some of that, but it's kept low-key and never dwelled upon for very long. The term "slow-burn thriller" was coined for movies like this. The movie is exciting, but in a cerebral sort of way. In a way, it's a little like "The Siege," only not as grim.
The President of Matobo, Edmund Zuwanie (Earl Cameron) is scheduled to appear before the UN in a few days time to defend himself against charges of genocide. While going back to retrieve her things after an evacuation, UN interpreter and Matoban national Sylvia Broome (Kidman) overhears some hushed voices planning to assassinate Zuwanie in a rare dialect that she happens to be fluent in. The Secret Service agent investigating her claims, Tobin Keller (Penn), doesn't believe her, but he'd rather err on the side of caution. Soon events make it clear that someone doesn't want Zuwanie to leave the UN alive, and if they're not careful, Sylvia may end up the same way.
This movie has two plotlines. One is, obviously, who is trying to assassinate Zuwanie. The other is the emotional connection that develops between Sylvia and Tobin. It's strictly platonic, which is a nice change of pace, but no less deep. Rather, it's finding emotional solace in times of grief. Both of them have sad pasts and find a sense of relief, if temporary and rather unprofessional (on Tobin's part) sort. This rings true because Kidman and Penn play it just right. They underplay the emotions and regard each other with understanding. This makes their relationship feel fresher and more real.
While neither Kidman nor Penn has an especially flashy role, they give terrific performances. Kidman, who was given the part after her good friend Naomi Watts turned it down (because she knew that Kidman wanted it), has little trouble playing a woman who is both fearing for her life and haunted by her past. It's a tricky role because she keeps so many secrets; perhaps even from herself. Sean Penn is probably one of the few actors who can keep up with her, and he does. His is a low-key, but no less effective, performance, playing a man exhausted by the ghosts that haunt him. Able support is provided from the rest of the cast, including Catherine Keener who takes a role so small that it could have been filled by a no-name actress.
This was the first film that was actually filmed inside the UN, and director Sydney Pollack makes the most of it. In addition to making the most out of the setting, he makes it feel alive. It isn't so much the cinematography (which is adequate but nothing special), but the energy. This place feels alive, and as a result the stakes feel higher.
It isn't a perfect movie. The pacing is at times slow, and there are a few kinks in the screenplay that Pollack should have known were needed to be ironed out. A deeper backstory into the history of the fictional country of Matobo and the genocide that Zuwanie had wrought would have given the film more bite. As it is, it's a solid offering for those who like a thriller that makes them use their brains.
Starring: Nicole Kidman, Sean Penn, Catherine Keener, Jesper Christensen, Yvan Attal
Rated PG-13 for Violence, Some Sexual Content and Language
"The Interpreter" is rare in the sense that it not only has a brain, it demands that the audience use theirs. Those expecting action, gunfights and explosions are going to be disappointed. Don't get me wrong, there is some of that, but it's kept low-key and never dwelled upon for very long. The term "slow-burn thriller" was coined for movies like this. The movie is exciting, but in a cerebral sort of way. In a way, it's a little like "The Siege," only not as grim.
The President of Matobo, Edmund Zuwanie (Earl Cameron) is scheduled to appear before the UN in a few days time to defend himself against charges of genocide. While going back to retrieve her things after an evacuation, UN interpreter and Matoban national Sylvia Broome (Kidman) overhears some hushed voices planning to assassinate Zuwanie in a rare dialect that she happens to be fluent in. The Secret Service agent investigating her claims, Tobin Keller (Penn), doesn't believe her, but he'd rather err on the side of caution. Soon events make it clear that someone doesn't want Zuwanie to leave the UN alive, and if they're not careful, Sylvia may end up the same way.
This movie has two plotlines. One is, obviously, who is trying to assassinate Zuwanie. The other is the emotional connection that develops between Sylvia and Tobin. It's strictly platonic, which is a nice change of pace, but no less deep. Rather, it's finding emotional solace in times of grief. Both of them have sad pasts and find a sense of relief, if temporary and rather unprofessional (on Tobin's part) sort. This rings true because Kidman and Penn play it just right. They underplay the emotions and regard each other with understanding. This makes their relationship feel fresher and more real.
While neither Kidman nor Penn has an especially flashy role, they give terrific performances. Kidman, who was given the part after her good friend Naomi Watts turned it down (because she knew that Kidman wanted it), has little trouble playing a woman who is both fearing for her life and haunted by her past. It's a tricky role because she keeps so many secrets; perhaps even from herself. Sean Penn is probably one of the few actors who can keep up with her, and he does. His is a low-key, but no less effective, performance, playing a man exhausted by the ghosts that haunt him. Able support is provided from the rest of the cast, including Catherine Keener who takes a role so small that it could have been filled by a no-name actress.
This was the first film that was actually filmed inside the UN, and director Sydney Pollack makes the most of it. In addition to making the most out of the setting, he makes it feel alive. It isn't so much the cinematography (which is adequate but nothing special), but the energy. This place feels alive, and as a result the stakes feel higher.
It isn't a perfect movie. The pacing is at times slow, and there are a few kinks in the screenplay that Pollack should have known were needed to be ironed out. A deeper backstory into the history of the fictional country of Matobo and the genocide that Zuwanie had wrought would have given the film more bite. As it is, it's a solid offering for those who like a thriller that makes them use their brains.
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