The Two faces Of January ****
Novelist Patricia Highsmith gave us the murderer Tom Ripley, introduced to film buffs in the acclaimed 1999 film The Talented Mr Ripley, a charming psychopath played by Matt Damon. Now our curiosity is further pricked some 15 years later with the promise of another big-screen-adapted period psychological thriller set on some sunny Mediterranean shores, The Two faces Of January. The cast is the obvious draw here, with the promise of another fine performance from Oscar Isaac of Inside Llewyn Davis fame, as well as boasting heavyweights Viggo Mortensen and Kirsten Dunst.
The Two faces Of January is a story of tricksters and those in denial, centring on American con artist Chester MacFarland (Mortensen) who spots another in action with a wealthy foreign lady in Greek-American Rydal (Isaac). MacFarland befriends Rydal after he becomes slightly obsessed by his entrancing wife, Colette MacFarland (Dunst). Once MacFarland’s days are numbered after he is tracked down by a third party, the American entraps the younger Greek-American into a deadly plan of escape that leaves tragedy in its wake.
Sumptuously filmed in a vivid contrast, Film Noir fashion that really sets the tone, even in daylight scenes, debut writer-director Hossein Amini’s (Drive, The Wings of a Dove) engrossing love triangle is never what it seems: The true thoughts and goals of the three lead characters are forever up for grabs. This delicately balanced dalliance plus superb casting drives curiosity to the very end within a classy premise.
The powerhouse acting of Isaac opposite veteran Mortensen is electric, like watching two alpha males circling each other, planning their moves while keeping as much control and faux respect left to last the journey they are bound together to make. Ironically, there is a nurturing ‘father-son-like’ relationship that fizzes beneath the surface menace too, that comes to fruition at the very end. Dunst is as on form as in Melancholia, and an alluring sight of conflicting character as Colette – yet another performance for fans to enjoy.
The casting is therefore a done deal, but the real success of this thriller is screenwriter Amini’s remarkable directorial debut, showing as much nuance and style in directing as any budding Hitchcock. His tense moments are claustrophobic – even outdoors – and he stimulates foreboding in the slightest camera angle framing his leads, setting them out like chess pieces in a backdrop. His additional writing skill means none of the above feels bloated, script-wise. Each word is significant, as is its delivery.
There is some head scratching to be had as to Rydal’s real father’s identity and a link that feels like a significant subplot driver but is never fully explored. Whether intentionally left ambiguous, there is a pictorial pointer that may leave some wondering what they have missed as it ‘seems’ important in the state of play.
This intellectual minefield of passion, treachery and crushing defeat is the perfect psychological cocktail. Amini has worked magic with cast and production that The Two faces Of January is merely the start of exciting things to come.
4/5 stars
By @FilmGazer
