Klaartje Quirijns‘ Anton Corbijn Inside Out, a portrait of the famed photographer and director of Control, The American and the forthcoming A Most Wanted Man, will have two market screenings in Cannes — at the Arcades 1 on Thursday, 5.17, at 3:30 pm, and at the Arcades 2 on Monday, 5.21, at 2 pm.
My 8.31.10 review of The American. The best party of it stole from Richard Eder’s review of Rancho Deluxe, to wit: “The American is handsome, meditative, elegiac and languid. It’s so coolly artful it is barely alive. First-rate ingredients and a finesse in assembling them do not quite make either a movie or a cake. At some point it is necessary to light the oven.”
My second favorite portion of the 8.31.10 review: “There’s a moment at the very end when George Clooney‘s grim, somber-to-a-fault performance — monotonous and guarded to the point of nothingness, shut and bolted down — suddenly opens up. It’s when he asks the local prostitute to leave with him. For the first time in the film, he smiles. He relaxes and basks in the glow of feeling.
“There’s a little patch of woods by a river that Clooney visits three times. Once to test his rifle, once for a picnic and a swim in the river, and then in the final scene. One too many, perhaps. But his final drive to this spot is almost — almost, I say — on the level of Jean Servais‘ final drive back into Paris in Rififi. For the second and final time in the film Clooney shows something other than steel and grimness.
“The American is worth seeing for this scene alone, and for the final shot when a butterfly flutters off and the camera pans up.”