Actor-turned-director and an award-winning screenwriter, Ben Affleck, once again demonstrates his masterful directorial skills. With his third feature length film, following Gone Baby Gone (2007) and The Town (2010), Affleck has turned away from the comfort of the Boston crime scene, and takes us on a gripping expedition to Iran.
Argo‘s story is based on true events. It’s 1979 and the Iranian religious revolution, led by Ayatollah Khomeini, has reached its peak. Demanding the return of the Shah, who is hiding out whilst seeking medical treatments in the U.S, a large number of militants storm the U.S Embassy in Tehran, taking 52 American hostages with them. Unsuspectingly, six manage to escape and take refuge at the Canadian ambassador’s house. Knowing that they will soon be found out and publicly executed – once the shredded documents are put back together revealing their identity – they have no other choice but to stay put and slowly await their fate.
Meanwhile, the CIA is working on plan to rescue the six diplomats and bring them back home safely. Failing to do so, they call in ‘exfiltration’ expert, CIA agent Tony Mendez (Affleck). Inspired by the chance viewing of the
Planet of the Apes, he heads to Hollywood to team up with two film-industry veterans; esteemed make-up artist John Chamber (Goodman) and the ever so witty old-school producer Lester Siegel (Arkin).
The seemingly impossible plan, as it stands, is to set up a fake film production set; fly out to Tehran and sneak the six refugees out of the country under the identities of a Canadian film crew on a location scout.
Despite the fact that the story is based on true events, and most people already know the outcome, both director Affleck and screenwriter Chris Terrio succeed in the excruciating suspense department. This alone says a lot about how much
Argo accomplishes and just how much sweat was put into the production of recreating these real-world events.
One of the other things that makes Argo stand out from other political thrillers released over the past few years, is the underlining dry humour. Beautifully balanced and never undercutting the seriousness and importance of the story, the comic relief gives the film a well-earned uplift.
The chain smoking and the brimming ashtrays, the oversized heavy rimmed glasses, the excessive facial hair and the washed out colour tones make a statement.
The only downfall to this otherwise great story is Affleck’s performance as the leading man. The low-key, laid-back approach that he takes right from the beginning doesn’t make his on-screen presence strong enough. The services rendered from behind the camera are much more appreciated than the ones in front of it. Both Arkin and Goodman show everyone a thing or two about what real acting is all about and the rest of the cast sink into their roles with great ease.
With the guidance of Affleck’s steady hand and a clear vision, Argo builds a compelling story of both courage and deceit. Already creating some serious Oscar buzz, this politically charged thriller is indisputably one of the strongest contenders so far.
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