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Assassination Tango 2003 |
Review by Jonathan Cornwell |
Directed by Robert Duvall
R, 114 min. (language, some violence) |
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Starring: Robert Duvall, Rubén Blades, Kathy Baker, Luciana Pedraza, Julio Oscar Mechoso, James Keane
Producers: Robert Duvall, Rob Carliner
Screenplay: Robert Duvall
Cinematography: Félix Monti
Distributor: MGM
Released: 3.28.03 (Limited) |
Rating:
  (out of ) |
Robert Duvall's latest project, Assassination Tango, is a journey into the mind of a man without a conscience, or at least
one that is irreparably damaged. Duvall writes, directs, and stars in a film that, much like his previous character study
The Apostle, focuses its attention on the restless mind of an aging man that no longer sees his path. An offbeat
drama with a heart, Tango portrays the inner turmoil that lies beneath an icy exterior, an introspective examination
of an assassin who utilizes the aspiring perfection that the Tango dance demands in order to keep his sanity intact. Duvall
sees his film as a sort of lucid reminder that maintaining the mind is paramount to self preservation.
John (Duvall) sees his latest mission as probably his last. His current family, girlfriend Maggie (Kathy Baker) and the apple
of his eye, Maggie's 10-year-old daughter, Jenny (Katherine Micheaux Miller), need a full-time husband and father, respectively.
He's set to assassinate a political figure in Buenos Aires, but when the job becomes bogged down with complications, he turns
to the calming, rhythmic calculation of the Tango. He meets the elegant Manuela (Luciana Pedraza) and asks for lessons in
order to improve upon his novice ability to perform the dance. Although we expect their relationship to escalate, even though
she is probably half his age, it defies our expectations. As the day approaches for his task at hand, he becomes torn between
his job and a palpable future that beckons just beyond his current reach.
Many viewers will be frustrated by Duvall's deliberate pace, which borders on lethargic, but his film's energy comes not
from its construction but from an inward momentum that thrusts John forward at an uncomfortable rate. He must salve his
fractured soul with the grace and ordered steps of a dance that demands both concentration and attention to detail. His
life seems headed for irrelevance, something that he knows he simply cannot accept. On some level the viewer will be
disturbed at John's cold demeanor, yet also intrigued by a grandfatherly devotion to those he cares about. John sees his
profession as an honest trade despite its immoral complications, and the cleverness of his experience buoys his status as
one of the best in the business. Whether this premise is acceptable or not will be up to the individual viewer.
Regardless of the film's construction, Duvall's presence is enough to satisfy most moviegoers. His performance here is
certainly measured and detached; his John bottles up emotion as if he's saving it all for a rainy day. His character is
difficult to pinpoint, but still fascinating in its contradictions. Duvall leaves much of his persona for the viewer to decide
for him/herself. This is not at the level of some of his previous work, yet it never fails to engage us on some level.
Assassination Tango exists because Duvall seems infatuated with the idea that man can be distracted enough to bury his
alter ego in a sea of forgettable transgressions. And for us, it's a chance to see a different side of the character study.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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