The Two Faces of January
The Two Faces of January
(2014)
A Review by Grant Kanigan
Directed by: Hossein Amini
Written By: Hossein Amini, Based on
Patricia Highsmith's novel
Starring: Viggo Mortensen, Oscar Isaac,
Kirsten Dunst
Rating: PG
Release Date: November 1st 2014
Release Date: November 1st 2014
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| Viggo Mortensen in The Two Faces of January Photo by Jack English - © 2014 - StudioCanal |
Overall, the film starts off like many we've seen before. Rich in the excess of the 1950's and privilege of winning the second world war, it's a world of intrigue and espionage, where the world was set about redefining itself. However, as the film progresses, the facets of it's mystery close in to reveal a style rarely seen in cinema. The characters' descendance into moral ambiguity is shocking and occasionally brutally violent; the unexpectedness of such violence is what makes it all the more unsettling. It's no surprise that the film is an adaptation of a Patricia Highsmith novel. Best known for her novel The Talented Mr. Ripley, (later turned into a film of the same name starring the transcendent Matt Damon), Highsmith's novels are stellar at pinpointing the failure of man to overcome his primal urges and choose instinct over emotion. Yet, like The Talented Mr. Ripley, it takes a full hour into the film until the audience becomes fully aware of who the protagonists and antagonists really are. This uncertainty is what drives the unsettling feeling throughout the film.
It's rare that a film that's as much of a slow burn as The Two Faces of January gets made, and it's a testament to the trio of actors that they're able to convey the emotions and feelings of their characters, as most of their thoughts were likely a lot more descriptive on Highsmith's pages. Dunst displays her best work since her breakthrough role in The Virgin Suicides. Seeing her display such innocent vulnerability here makes me excited to see what else she's been hiding since hitting an easy stride with the original Spiderman trilogy. She truly challenges herself as an actress here. Oscar Isaac, too, is fantastic. Subtle, intelligent and affirmed in his actions, his role as Rydel is a complete 180 from his exuberant work in the Coen Brothers' Inside Llewyn Davis, one of the most interesting films to quietly hit cinemas last fall. While the aforementioned actors are absolutely exhilarating, the true star here is Mortensen. Choosing moody, challenging roles since his defining work as Aragorn in the Lord of the Rings trilogy, Mortensen completely immerses himself in a chameleon like role, ferociously bursting out unexpectedly, in ways that would ring false and utterly ridiculous under a less talented thespian. While most of his work is typically excellent, Mortensen's work in The Two Faces of January is the best he's done since his exemplary work in Eastern Promises. The acting in The Two Faces of January is the prime reason to catch this film in theatres or on video.
However, the film does have its faults. The other Highsmith adaptation, The Talented Mr. Ripley, ran in at two hours and twenty minutes. Amini's adaptation runs in at just barely ninety minutes. While I'm all for a succinct script, there does seem to be some characterization missing near the end of the film, and it would have been nice to see more of the timeline of the main characters after they realize they're in a lot more trouble than originally perceived. Ripley took the time to flesh out it's story, it's reasoning, and it's subject. The Two Faces of January merely hints at such things in passing. As well, the quick ending leaves a hint of disingenuousness by the sudden confession of a major character. It rings false. Yet, as I have mentioned, it's a testament to Mortenson and Isaac that the film is believable. While the script does have it's faults, it's still one of the more twisted, unexpected and entertaining scripts of the year.
Known for his work in such films as Drive, and The Four Feathers, Amini is a moody, introspective writer. While he's working to cut down a novel here, he does manage to fit in some moving and at times terrifying dialogue that rings true. Rydel, Chester and Colette all sound like living, breathing people; a character facet that's missing from some other 2014 releases, (Gone Girl). The cinematography and set design too, is fantastic. From the classic cars to the wayfarer glasses Mortensen wears throughout, come straight out of the 1950's, leading to a 50's aesthetic that's hard to nail down in this day and age, (for examples of how not to do historical set design, check out the atrociously mishandled Public Enemies). The close ups of Mortensen and Isaac, as well, lead the viewer to analyze their inner psyches.
Overall, while the film is too short, and the final scenes are a tad disappointing, that's nowhere near enough to write off a film with a witty script, fantastic cinematography, and some of the best performances of the year.
Known for his work in such films as Drive, and The Four Feathers, Amini is a moody, introspective writer. While he's working to cut down a novel here, he does manage to fit in some moving and at times terrifying dialogue that rings true. Rydel, Chester and Colette all sound like living, breathing people; a character facet that's missing from some other 2014 releases, (Gone Girl). The cinematography and set design too, is fantastic. From the classic cars to the wayfarer glasses Mortensen wears throughout, come straight out of the 1950's, leading to a 50's aesthetic that's hard to nail down in this day and age, (for examples of how not to do historical set design, check out the atrociously mishandled Public Enemies). The close ups of Mortensen and Isaac, as well, lead the viewer to analyze their inner psyches.
Overall, while the film is too short, and the final scenes are a tad disappointing, that's nowhere near enough to write off a film with a witty script, fantastic cinematography, and some of the best performances of the year.
Grant's Rating: 3.5/5 Stars
Viggo Mortensen, Kirsten Dunst & Oscar Isaac in The Two Faces of January: "Or What?"
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