style (n.) – 2. The combination of distinctive features of literary
or artistic expression, execution, or performance characterizing a
particular person, group, or era.
From one frame to the next, Tony Scott’s latest
project, Man on Fire, is oozing in vibrancy and aliveness. Cut, swap,
scrap, shake, fold, quip—every stylistic device the modern director could
ever think of is in the movie. The technique works well too, because it’s
only fitting for the story. Normally, I like to criticize movies that have
too much style; they decievingly allow their plot-lines to be murky and
bloated, compensating for such a method. However, Scott’s vibes work
amazingly well here, matching the tone of the over-the-top story. The
concept of the movie, by itself—like many others of its kind—seems
ridiculously preposterous, a genuine eye-roller. Beyond all odds, though,
there is wonder in Man on Fire’s contents, and audiences will find
this to be amazingly rewarding.
Denzel Washington, in a powerhouse of a
performance, plays John Creasy, who finds himself working as a bodyguard for
a young girl, named Pita (Dakota Fanning), who comes from a wealthy family.
The first thing to flash onto the screen in Man on Fire is text,
stating that every sixty seconds, a child is kidnapped in Latin America.
Predictably, before long, Pita is taken and Creasy is shot, leaving him
unable to protect his client. At this point in time, Pita has just begun to
form a bond with Creasy, after a long, cold period of time, in which the two
had a strictly business-like relationship. Pita’s return to her family is
then destroyed by a failed delivery of the requested ransom. Somehow, her
captors only receive half of the $10,000,000 amount that her parents agree
upon. With her dead, Creasy recovers, and then leads a plan for revenge upon
her killers, discovering some very shocking information. This all leads to a
showdown between him and a man known as “The Voice”, nick-named after the
malevolent commands he gives to kidnappers via cellular phone.
Washington delivers another brilliant performance
to add to his long and growing resume, but the real star of the movie is
Dakota Fanning. Before Man on Fire, I had a hunch that she was a
great actress, but the dreary pictures she starred in left much to be
desired of her many talents. Here, she shines in every scene, perfectly
depicting the realities of the character she also plays in real life, a
little girl. All of her other roles have been cutesy and one-note, but Peta
is a character that the audience can feel for. Her personality complements
that of Creasy in an appealing way, and she teaches him to develop hope,
which is, of course, diminished when she has supposedly been murdered by her
abductors.
The script, authored by Brian Helgeland (Mystic
River), was adapted from A.J. Quinnell’s novel, featuring some of the
strongest dialogue in years. There is sheer force behind the choice of words
in the movie, and the way in which they are presented. David Mamet’s work
rang a bell when I listened to Helgeland’s; both writers keep tight reigns
on their characters’ behavior. Scott has a unique way of bringing this out,
too. Some of the film is in Spanish, which requires subtitles. These pop-up
everywhere on the screen, varying in color, size, and boldness. But, in
addition, our director will also occasionally imprint the dialogue that is
spoken in English in the video, giving the material an unexpectedly powerful
emphasis. The sporadic conversations which feature this procedure are
insanely effective. Thankfully, their usage is moderate, preserving their
undeniable might from being minimized and rediclued.
The pacing of the film, at times, can feel slow
and strung out, but this is really the only major flaw of Man on Fire.
But, considering it is 146 minutes long, the entire thing does feel pretty
breezy. Scott knows what he’s doing, and so does his cast, making for an
exceptionally enjoyable, Hollywood-style creation. As long as Scott keeps
choosing the right projects to wow us with visuals in, his career is sure to
be a long and successful one. His next film, Emma’s War, stars Nicole
Kidman, playing a British aid-worker in Sudan, and is predicted to be
released in 2005. His presentation of images will have to change in order to
accompany the rather “different” material, as well as the bizarrely original
writing of Steven Knight (Dirty Pretty Things). I look forward to see
the way in which Scott chooses to execute the plot and showcase his
versatility as a director. I will pray it doesn’t turn out to be another
Beyond Borders for two reasons: (1) I could never endure such a horrific
experience again and, more importantly, (2) I have gained a respect for him
that I do not want to see wash away anytime soon.
-Danny, Bucket Reviews (5.2.2004)
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