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Essay / Research Paper Abstract
A 3 page film review that discusses the filmmaker's use of cinematic techniques to create a realistic, taut thriller. Director Sydney Pollack's "The Interpreter" (2005) is an intelligent thriller that makes excellent use of its cinematic medium, but has a plot sufficiently complex to have made a good novel. In other words, this is not a "pumped-up techno-thriller," as critic Roger Ebert observes, but rather presents a story in images that might well have been drawn from the pages of a recent newspaper. Rather than relying on unexpected twists, the plot builds incrementally, but carefully, which is one of the ways in which the filmmakers create a satisfying experience for the movie-goer. Bibliography lists 3 sources.
Page Count:
3 pages (~225 words per page)
File: D0_khintfm.rtf
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good novel. In other words, this is not a "pumped-up techno-thriller," as critic Roger Ebert observes, but rather presents a story in images that might well have been drawn from
the pages of a recent newspaper. Rather than relying on unexpected twists, the plot builds incrementally, but carefully, which is one of the ways in which the filmmakers create
a satisfying experience for the movie-goer. The story concerns Sylvia Broome (Nichole Kidman), an interpreter at the UN who overhears a death threat made against an African dictator called
Zuwanie (Earl Cameron), a man who was respected at tone time, but now stands accused of genocide (Ebert). Zuwanie plans on defending his policies by addressing the UN General
Assembly and it is the job of Secret Service agents Keller (Sean Penn) and Woods (Catherine Keener) to keep both Zuwanie safe. Keller immediately assumes that she is lying concerning
the overheard threat. Keller looks into her background, which reveals why Broome, a native of Zuwanies country, would want the dictator dead. Also, a wide range of other suspects emerge
to complicate the mystery. The filmmakers make excellent use of on location shots at the UN to endow the film with a sense of realism and topically urgency. Ebert
notes that this is the first film crew to be given permission to film extensively at the UN and this gives the movie a feeling of authenticity that adds immeasurably
to the verisimilitude of the narrative. This is particularly true in a very effective scene where a security detail sweeps the building, as cinematography, at this point, actually resembles a
documentary more than a major studio film. The viewer get the feeling that this is the "real thing" rather than merely mis-en-scene (Ebert). Critic Don Thompson, however, disagrees with this
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