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The inherent dangers of living in a country in which political agendas have been compromised, and where wealth takes precedence over integrity, are made brutally distinct to an American engineer who takes a job in South America, only to become the victim of a kidnapping for ransom in “Proof Of Life,” directed by Taylor Hackford and starring Russell Crowe and Meg Ryan. Peter Bowman (David Morse) is hired by an oil company to perform a dam that will facilitate the construction of a pipeline, but is kidnapped at random by a band of guerrillas whose political agenda has long since given intention to the more lucrative business of terrorism purely for the sake of capital gains. When it happens, the London based insurance company whose business it is to underwrite conglomerates around the world to conceal this particular kind of position sends in it’s “K&R” (Kidnap and ransom) man, Terry Thorne (Crowe), to negotiate the release of Bowman. And it posthaste becomes a game in which most of the participants, including Bowman’s wife, Alice (Ryan), would rather not participate; the earn is, you play the game, or one of the principles involved– in this case Peter Bowman– dies. Hackford’s drama examines what it is like to face the reality of a position over which you have neither experience nor control, and looks at it from the perspective of the victim, as well as that of those dealing with it on the other destroy. How does one answer to the kind of circumstances previously known only from news reports and movies, the things that only happen to others, but never to you. What would it be like to have to build your life, or the life of a loved one (as in this case), in the hands of a total stranger? It’s notion provoking, sobering material that drives home the rather tentative plot of the world in which we live. Crowe turns in a dynamic performance here as Thorne, the professional negotiator who of necessity forms a strong bond with the wife of the man whose freedom he is attempting to score, and he very subtly keeps the conflict within him apparent, while maintaining the integrity of the character on the surface. A terrifically expressive actor, Crowe credibly conveys the complexity of his space while exhibiting a stoic exterior strength, and it’s his ability to give depth (aided in no petite section by his magnetic hide presence) to what could easily have been a one-dimensional character that makes him believable, and makes Thorne memorable. Meg Ryan lends emotional depth to Alice, though it’s not a fraction that realizes nor utilizes the best of her abilities as an actress. She does manage to bring some insight to the character, mainly through allusions to new events in her life, though because of the yarn she is necessarily kept in the exhibit and concerned with the immediate area. The relationship between Thorne and Alice is handled delicately and quite skillfully; that there would be a mutual attraction between them is believable, given the lack of intimacy in Thorne’s life (which is succinctly established) and the emotional needs of Alice’s modern condition. The impropriety of any possible relationship at this juncture is never verbalized but is entirely understood; and that Hackford never gives in to the temptation of sensationalizing their feelings for one another is vital, in that it ultimately heightens the emotional impact of the climax. David Morse gives an accomplished performance as Peter Bowman, with his emotional development over the length of his captivity especially well expressed and realized, and he is responsible for many of the very “loyal” moments throughout the film. His reactions during the kidnapping sequence, for instance, give it an added intensity that execute it all the more believable. In a smaller role, David Caruso (Dino) gives a passable performance, but can do petite more than effect a character that is, in essence, a shallow imitation of Thorne (which makes you relish Crowe’s performance all the more) . Hackford has an see for detail and tells his fable with a very deliberate traipse and includes some stunningly mountainous visual shots, but allows the overall intensity to wane a bit, which somewhat mitigates the emotional involvement of the audience, though the drama remains intact. In the waste, however, “Proof Of Life” is tightly afflict and delivered and will have your interest while bringing you face to face with unbiased how fragile life can be; noteworthy food for opinion that refuses to let you off the hook even as you leave the theater or click off the video.
Once again Russell Crowe follows a tall movie role, Maximus in Gladiator, with a totally different persona that holds this movie together. Proof of Life is filled with nuanced moments that only Russell can say. While the action sequences are pleasant, the intimate moments are touchingly handled. Terry Thorne is definitely the man you’d want to be your negotiator if you were ever kidnapped. As always, you know how he’s feeling and what he’s thinking every moment. It’s a pleasure to spy Russell as the competent Australian that he is in true life. And the comedic moments promise righteous comedy roles in the future.
Taylor Hackford uses his visual skills to expansive finish, giving us incredible high altitude shots and the intense atmosphere of the rain forest. As others have illustrious, be obvious to cease for the credits, the soaring portrait of the Andean landscape is breathtaking.
However, this film could have been very special if the romantic elements had been fully realized, ala Casablanca. We know Hackford removed the worship scene after the previews, unfortunately with this we lost “Paris”, the emotional center of this film. I enjoyed Morse and Caruso very distinguished, but plan Meg Ryan didn’t have enough dialogue to give us a well rounded character in Alice. Pamela Reed was shapely as her sister in law.
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A qualified action/suspense film, more emotional exposition featuring the sizzle between the two stars would have raised this up at least two notches. Idea the paunchy nature of their relationship would have deepened the regret and loss at the destroy. This one will be a keeper on dvd, with the heavenly visuals and expedient performances, but only if Hackford puts the adore scene and remorse afterwards serve in.
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November 29, 2009
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Curtis Evans
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