Bourne is back in what is becoming the best action franchise since James Bond. Matt Damon returns to the role of rogue super-agent Jason Bourne in the sequel to THE BOURNE IDENTITY (2002). THE BOURNE SUPREMACY is a fast-paced thriller with superb production values that is driven relentlessly forward by gritty hand-to-hand combat, reckless car chases, quick-as-lightning editing, and pounding drum rhythms. Despite numerous twists and turns in the story, the tone never deviates and the audience is forced into a chaotic and dangerous world as seen through the eyes of a desperate man willing to go to any lengths to clear his name and excise his demons.
The film is based on the book of the same name by Robert Ludlum and continues two years after INDENTITY. Still suffering amnesia that has left all memory of his true identity and initial work with the CIA as little more than vague nightmares, Bourne (Matt Damon) lives out his days with his lover (Franka Potente) far away from the world of espionage that he thought he had escaped. He’s once again forced to face his past when a Russian assassin (Karl Urban) frames Bourne for the murder of two agents and attempts to kill him. Bourne narrowly escapes as Helen Landy (Joan Allen), head of a CIA task force, begins a manhunt for him. Instead of running, Bourne heads straight to them to find out why he’s been targeted.
As Jason draws closer to the truth, he begins to piece together painful memories of his first kills and their relationship to a deadly get-rich scheme that corrupt elements in the CIA are trying to cover up. A race begins with Jason out to clear his name before his enemies can silence him for good.
Damon gives a great performance as a regretful modern warrior who rides the line between good and evil. He displays little emotion, but his pain can be seen, especially in his attempt to reconcile past sins. Julia Stiles steps up with a very tense encounter with Matt that is well-acted. The rest of the cast put in solid, if unremarkable performances. Urban of THE CHRONICLES OF RIDDICK is to SUPREMACY what Clive Owen was to IDENTITY. He’s a ruthless professional who doesn’t waste time on words. It’s great to see two principle adversaries simply let their actions speak for them.
One of the biggest complaints lobbed against martial arts and action movies with screening fighting is that the engagements are not realistic. It’s true. Fight choreography is typically designed to make the fight look good and that means having fights last longer and appear more graceful than they ever would in real life. There’s nothing wrong with this so long as the fights are well-executed and entertaining. That’s the whole point of having a straight martial arts film genre. But sometimes, going for brutal efficiency and the ugly reality of combat has its merits, especially when it’s rarely attempted. That’s where the Bourne series comes in.
IDENTITY established its hero as a no-frills fighter and SUPREMACY continues this trend. The film’s martial arts combat is subservient to the story and only appears prominently at three points. The choreography is all about efficiency, speed and when it comes down to a square fight, anything goes. In most cases, Bourne gets the drop on unsuspecting victims by attacking and subduing them before they can mount any defense. This is an ideal situation for anyone forced to fight as it resolves a dangerous encounter with minimum effort and risk. In both cases, the action is almost over before it starts, but it is terribly satisfying to see such ruthless efficiency. Yet the film is not above pitting Bourne against an equal in their version of a screen duel. It is by far, one of the messiest duels ever filmed and gives a glimpse at what even trained experts could be reduced to in a “real” situation.
Basically, Bourne ends up in a small room, desperately trying to survive a battle with the only other agent left alive who had originally trained for the same advanced black operations. A few deliberate kicks, punches and grappling moves work their way in, but it quickly devolves into a wild melee of shoving, ramming, and choking that is intense and raw. Choreographer Jeff Imada and his collaborators deserve credit for pushing the boundaries of realistic screen fighting while still keeping it entertaining. It fits the film’s serious tone perfectly.
The rest of the action in the film is equally well-choreographed, particularly a grueling car chase towards the end. But there is a significant problem and that’s the editing. There must be a record number of cuts in this film. A take rarely lasts more than a few seconds and in many cases, angles change so quickly that they nearly create a strobe effect. It gets out of control during the climatic car chase. As I watched the flutter of images zip past, my eyes began to glaze over and disorientation set in. It was too much to take in. When viewed in a packed theater, a collective sigh of relief was heard from the audience once the cars came to a crashing stop.
I understand what director Paul Greengrass and returning DP Oliver Wood were trying to do. By keeping a shaky camera close to Matt Damon and shuffling up the imagery, it creates more tension and puts the viewer into Bourne’s head. At times, it works beautifully, but more often it’s confusing and overwhelming. The film could have benefited from at least a few breaks from this mad visual presentation.
Aside from the crazed camera work and editing, THE BOURNE IDENTITY is an excellent action thriller that’s wound tight and spring-loaded with brutal fights and car stunts. Its success comes from the creation of a genuine atmosphere of desperation where the threat of death or our hero’s descent into a killing spree lurks around every corner. It’s also the way Bourne makes every action count and makes use of every opportunity that viewers can find satisfaction. More action films could benefit from this level of detail.
by Mark Pollard
