Genre pictures such as the kidnapping thriller Man On Fire can be elevated to near-greatness by filmmaking skill and a superior cast.
Man On Fire, set inside the real-life kidnapping quagmire that is Mexico City and shot there on authentic locations, has both qualities to an impressive degree.
This epic-length film delivers the breaktaking action and violence that genre fans require, and does it with gritty realism that drives it home with a thudding, visceral impact. The story is also infused with the humanity of a serious drama, turning the enterprise into a sophisticated adult experience as well.
The skill team is led by director Tony Scott (Top Gun, Crimson Tide), who marshals his forces to present a handsome film ranking as his career's crown jewel.
The cast is led by two-time Oscar-winner Denzel Washington, who demonstrates exactly why he took home the hardware for Training Day, another genre picture that rose above cliche.
Like his corrupt cop in Training Day, Washington's character in Man On Fire is enormously flawed and tragic. The big difference this time is that the Man is essentially good, an avenging angel. There is darkness in our anti-hero's soul, guilt mingled with remorse and covered with bravado.
The story in Man On Fire comes from the 1980 A.J. Quinnell novel, which was set in Italy and inspired by true events. An earlier movie, a 1987 France-Italy co-production starring Scott Glenn, told that saga and fell into obscurity. Scott and screenwriter Brian Helgeland (L.A. Confidential, Mystic River) updated the story and moved it to Mexico, basing many of the changes, including fresh characters such as a crusading reporter and rogue killer cops, on original research. So the film rings true.
Washington's John Creasy is now a guilt-ridden, alcoholic, former CIA assassin who, through a connection with his former partner and best friend (Christopher Walken), works as a bodyguard to a youngster (the marvellous Dakota Fanning) in Mexico. Her mixed American-Mexican parents (Radha Mitchell and Marc Anthony) are rich -- and targets.
When the kidnapping inevitably happens, all hell breaks loose as Washington goes on the kind of "rampage of revenge" that is more shocking, more real and obviously less fun than Uma Thurman's romp in Kill Bill.
The emotional stakes in Man On Fire are high. The slow but spellbinding first hour introduces us to the fractured Creasy and his emotional dilemma, while slyly insinuating the girl into his world. Meanwhile, scenes between Washington and Walken are lessons in superb behavioural acting, two men just "being" on the screen yet filling our hearts.
Compare that to Walken chewing up scenery -- eating all of Brazil, for that matter -- when clowning opposite The Rock in The Rundown. Paired with Washington, Walken ratchets the comic hyperbole down and gives us profundity.
Actually, the whole movie does just that. Real angst, real danger, real violence exacts a terrifying toll here. Man On Fire takes us to hell and back as a gripping life lesson.
(This film is rated 14-A)
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