Last week’s entry regarding my time at the DTH made me think of this piece, which I wrote in late 2007. See, my main gig at the DTH—all four years—was reviewing movies. Most of the time, they were split between heavy-duty art-house films and insipid popcorn flicks. But over time, I got used to it. There was a definite pattern to writing reviews…and it was always much more fun to trash the bad movies. (And as the photo suggests, in my early days on the arts desk, we awarded feet instead of stars.)
After graduating from college, I largely fell out of the habit of writing reviews. But in 2007, I saw The Bourne Ultimatum, which is now one of my favorite movies. It got my brain racing, and I had to write the following. It’s longer and a little more involved than a typical DTH review would have been (I can thank the media studies degree for that), but here it is anyway—in all of its G. Dub glory.
(And I gave it four and a half feet.)
***
When Robert Ludlum first wrote the novels that immortalized the exploits of embattled spy Jason Bourne, his title character roamed a world wrought with Cold War fears and conflict in Vietnam. The Bourne Identity, the first movie that placed Matt Damon in the role, came on the heels of a new era—post 9/11 terrorism fears. And, as we all know, it’s been a rollercoaster ride of suspicious-looking neighbors, confiscated gels and liquids, and wiretapped phone calls ever since then.
So, in a way, The Bourne Ultimatum is exactly the kind of film that Americans need to see right now—and the kind that they don’t need to see at all.
Picking up right where The Bourne Supremacy, the second film in the series, left off, Damon returns as the amnesiac Bourne, the highly trained government assassin who is still trying to piece together his past. He hobbles injured around Moscow after Supremacy’s bravura car chase scene, while a team of CIA sleuths back in the U.S. tries to track him down before he can sabotage their top-secret program even further.
That team includes Joan Allen, wonderfully reprising her role as the sympathetic Pamela Landy, and new-to-the-series David Strathairn, who plays against type as the flinty Noah Vosen, a deputy director determined to bring an end to Bourne’s travels no matter the cost. The twosome track Bourne from London to Madrid to Tangier before his desire to know who he was drives him to New York, where Landy and Vosen are waiting for him.
It’s not a surprise that over the course of five years and three films, the franchise has wonderfully matured. The first film was entertaining yet unremarkable, but it was when director Paul Greengrass took the helm for Supremacy that Bourne’s complex story got a needed jolt thanks to jittery camera angles and bone-crunching fights that place you right in Bourne’s well-worn shoes. Greengrass takes it to the next level in Ultimatum without trying to outdo what’s already been done; while it’s tempting to roll your eyes when the newest set of flashbacks powers up and big CIA muckety-mucks start barking at their underlings to “FIND JASON BOURNE,” there’s a new sense of desperation flooding every scene. Instead of capping the film with a car chase similar to the jaw-dropper that ended Supremacy, Ultimatum runs its last chase with at least 20 minutes to go, instead ending with a scene on a Manhattan rooftop that satisfyingly brings the trilogy full circle. (I would recommend catching up with the previous two movies before seeing Ultimatum; not only will those who pay close attention get a nice reward, but there’s a definite sense of finality to this one.)
Ultimatum continues to make a name for itself in a number of ways: The locales are different, the score (by John Powell) incorporates familiar melodies from the earlier movies yet infuses them with new energy, and Damon proves once and for all that he has enough action-flick know-how to pair with his everyman appeal for an intriguingly real, nuanced character. While Bourne continues to walk away from horrendous car crashes and intense sparring matches, he does so with bloody scratches and a limp. When Bourne pairs up with Nicky Parsons (played by a fairly lifeless Julia Stiles), he doesn’t bed her like a James Bond-type character might; instead, he looks at her with eyes that are still searching for his dead girlfriend Marie, who was killed at the beginning of the second movie—an eternity in the testosterone-fueled world of the typical thriller.
And most importantly, he doesn’t kill indiscriminately. When escaping Moroccan authorities, he throws a can of spray paint onto a fire and pushes away those people standing nearby. Every life he takes is considered and mourned, even if he kills someone who was trained the same way he was—by conditioning to remove the slightest bit of human remorse. This is what makes Ultimatum hugely comforting—and at the same time, incredibly frightening.
To his credit, Strathairn fully inhabits a heartless role, but it’s difficult to see his character as anything other than a representation of the current administration. (With Greengrass including a flashback scene of Bourne undergoing a waterboarding procedure, it’s tough not to draw that conclusion.) Vosen issues kill orders for U.S. citizens and operatives on nothing more than mere suspicion, and when Landy dares to ask how far he’ll go, he bites back, “Until we win.”
We also catch wind of a report that Bourne resisted his initial training, which intended to beat the conscience out of him and evidently malfunctioned, resulting in the tortured hero we see today. But this plot point begs an important question: Why is conscience something worth killing? Who exactly are Bourne and his ilk being asked to kill that would require it gone? The overwhelming sense of reality in The Bourne Ultimatum makes this tough to ponder. It’s nice knowing that someone working in our name has one, but troubling that our government would consider it a handicap.
Of course, this isn’t to say that Ultimatum is meant as a political statement, or anything other than what it is: a hugely entertaining movie. A rooftop chase scene in Morocco dazzles the senses with unbelievable camera work and a heart-pounding soundtrack, and an early sequence at London’s busiest train station looks as though as it were filmed alongside regular commuters making their way home. Bourne instructs a British journalist (those nimby-pimby sorts) on how to make his way out of the terminal while ducking sweeping surveillance cameras and lurking thugs, and it’s hilarious watching Bourne use the same precise training he received against those who gave it to him as they scratch their heads in bewilderment. They can’t believe that one of their own has turned against them.
Which possibly proves that in the end, our greatest danger could really be ourselves.
