to make the world a safer place
by Douglas Messerli
Andrew Bovell (screenplay, based on
a novel by John Le Carré), Anton Corbijn (director) A Most Wanted Man / 2014
Set against the important German
seaport city of Hamburg, where Mohammed Atta and his collaborators planned the
9/11 attacks, Anton Corbijn’s tense adventure film, A Most Wanted Man, radiates a sense of paranoia. The local
authorities, particularly the head of Hamburg intelligence Dieter Mohr (Rainer
Bok), along with his associates, including the American agent Martha Sullivan
(Robin Wright), are triggered for unmediated action every time anyone with even
slightly suspicious credentials appears on their radar.
Meeting up with a muslin woman, Leyla (Derya Alabora) and her son, Issa
soon makes contact with a well-meaning lawyer, Annabel Richter (Rachel
McAdams), whose non-profit organization helps illegal immigrants and
unrepresented outcasts find ways in which to gain entry in German culture.
Unwittingly, she commits to the young man—whom she believes to be innocent of
any criminal action as strongly as Dieter Mohr will soon be convinced of the
boy’s intent to hook up with a jihadist group—while incidentally falling in
love with him through Issa’s gentle responses to what is perhaps the first time
in his life he has been shown any tenderness.
Were this story to stop here, playing out an intense struggle between
what might be described as a relative good and evil battle, A Most Wanted Man—based on a novel by
John le Carré—could be categorized as just another tautly presented
adventure-packed film, about which I would probably have never written. Between
these antipodes, however, lies another reality, led by the hard-working, dour,
alcoholic Günter Bachmann (Philip Seymour Hoffman, in his last on-screen role).
Bachmann and his crack team also work as anti-terrorist forces. But their
tactics, which include a deep embedding of the Islamic community and patient
investigation of interconnecting links between different individuals and
communities, reveal an entirely different reality, a world where, as Sullivan
admits, some people can do a great deal of good and still do a few bad things.
In short, as opposed to the black-and-white realities expressed in the Hamburg
intelligence office and by the Americans who have previously botched one of
Bachmann’s jobs back in Beirut, Bachmann and his organization perceive various
levels of good and evil, using their all too human connections as links to out
what may be the most truly destructive and violent of individuals and
organizations.
In particular, Bachmann is out to expose the seemingly moderate Muslim
Dr. Faisal Abdullah (Hornayoun Ershadi) by using Issa Karpov and his
inheritance. While Abdullah clearly does a great deal of good through his
charitable acts, he also appears to transfer monies and products in small
amounts to a Cyprus-based shipping company who transfer those funds on to Arab
terrorists. As Bachmann sees it, the man does a great deal of good work but
salves his personal conscience by supporting in smaller ways the causes devoted
to the terrorist underground. Indeed, Bachmann has somehow convinced Abdullah’s
own son, Jamal, to join his group as a spy, promising him, when the time comes,
to broker a deal with Abdullah that will force him to reveal his connections but
yet protects the man’s international reputation as a peacemaker.
The reviewer from Time Out described
Hoffman’s performance as “dyspeptic” and “uninvolving,” but his grouchy,
seemingly noncommittal behavior is actually a shield to protect him from the
wolves by which he is surrounded.
One such being is Martha Sullivan, who pretends to support his actions,
gradually gaining his trust through her arguments that the often brutal and
often inhuman actions she and he employ are a way “to make the world a safer
place.” That belief, in fact, is what makes Bachmann so vulnerable. At heart,
he is a true believer, a man who actually is convinced of the Muslin Chechen’s
innocence, and a man committed to keep his word not only to Jamal and to the
lawyer Richter, but to the banker Tommy Brue (Willem Dafoe) who is basically
honest, but is forced to live up to the evil enterprises—just like Issa
The very fact that a spy might actually see his or her actions has
somehow helping the human condition is unthinkable, so director Corbijn, his
screen writer Andrew Bovell, and original novelist Le Carré convince us. To
even want to save the world, one must be a kind of missionary, a ridiculous
believer in human beings and their interrelationships with others. If Bachmann,
through Hoffman’s quite brilliant portrayal of him, is a growling mess of
nerves—his language hardly comprehensible at some moments, while at other
times, particularly in his father-like relationship with the conflicted Jamal,
an expression of something close to love—he is also a kind of sainted seer, a
man who, if given half a chance, just might actually save people’s lives and
maybe make the world somewhat better. He is, in short, “a most wanted man.”
The trouble is that such a being cannot be allowed to exist within the
garish lit-up, high-octane, and utterly fictitious world—a world of false
truths and outright lies—of the so-called “intelligence” community. For Mohr
and Sullivan there is no room to explore subtleties; their philosophy is
simple: if someone is under suspicion, he is already guilty. As Bachmann
attempts to intricately implicate Abdullah in order to discover the forces to
whom is subverting some of his overall good, Hamburg authorities intercede,
capturing Issa, Abdullah and others involved, destroying and collapsing any
“better world” that Bachmann might have dreamed up, while, at the same time,
turning his promises into betrayals.
Los Angeles, August 3, 2014
Reprinted from Nth Position [England] (September 2014).
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