The American

After his debut as a feature film director, the music biography "Control", was received very positively not only by critics, Dutch photographer Anton Corbijn delivers his second feature film work with "The American". And the result is more than respectable, even if the production is in some respects absolutely unusual and also surprising.

Mega-star George Clooney plays a taciturn hitman Jack, whose last job ends with him being shot at and a bystander killed. After this debacle, he decides that he will retire from the deadly business for good after his next assignment. In a small village in Italy, Jack wants to prepare for his exit. But the village priest (Paolo Bonacelli), who is a little too interested in him and his work, his increasingly private relationship with prostitute Clara (Violante Placido) and his mysterious client (Thekla Reuten) ensure that Jack keeps losing sight of his real goal - which, in his line of work, can have deadly consequences.

"The American" makes it clear time and again that its director has his roots in photography. The film looks simply magnificent. Corbijn is both first-rate at putting his actors in the right light and at capturing the wonderful landscape of Abruzzo in hypnotic images. And so Corbijn lets the pictures do the talking. "The American" is a very quiet thriller that defies the usual stylistic devices of the genre despite some moments of suspense. There is a car chase, there is also gunplay, blood and sex. But it's all presented with a certain restraint and a high visual aesthetic, framed by moments of long silences, so that in the end a very peculiar (kind of) overall picture emerges.

Corbijn has deliberately chosen material that is as distinct as possible from his debut work. He himself describes making feature films as a "quite new adventure". And in a way, that is evident in the film. Where "The American" is visually inspiring, other parts of the dramaturgy are still a bit lacking. The actors are great, the subtle score by Herbert Grönemeyer is very atmospheric and the constant threat that Jack feels exposed to is palpable. And yet, little lengths keep coming up, followed by little holes in the logical plot progression. But even that can't prevent Anton Crbijn's second directorial effort from becoming an arthouse thriller that is absolutely worth seeing, and that represents a pleasant antithesis to the hectically edited and shakily filmed action thrillers that have increasingly dominated the genre in recent years. And that's exactly why: absolutely recommendable!

An article by Frankfurt-Tipp