The International: Review

In The International, rugged Interpol veteran Lou Sallinger (Clive Owen) finds himself in a quest to bring down the powerful International Bank of Business and Credit after he uncovers their illegal money-laundering and arms dealing activities. Fueled by the suspicious and abrupt murder of his Interpol wingman and obstructed by the ruthlessness and influence of the organization that he has to take on, Sallinger finds the help of fellow agent Eleanor Whitman (Naomi Watts) in his globe-trekking quest to establish justice.

The International seeks to redefine our definition of justice and laments the sorry state of a world run by big businesses and political power. In portraying Sallinger as a rugged and determined protagonist the story is fundamentally a good versus evil clash of an embattled hero against an omnipotent villain (the financial institution). This could well have been The International’s biggest disappointment. Despite its attempts to distinguish itself from other mainstream actions films by focusing on a contemporary issue and conflict rather than a far-fetched premise and romantic side-story, it seems pressured into justifying itself with a lengthy and complex plot. Ultimately, the film is creative and displays sharp narrative, but loses some of its spark due to a meandering storyline.

Still, whatever the film lacks in plot it makes up for with unique realism and astute cinematography. The films signature consists of clear and crisp shot composition throughout, with German director Tom Tykwer paying special attention to the rule of thirds in many of his scenes. Numerous shots also emphasize visual boundaries across the screen, with clear lines and color differences dissecting the shot. This, in addition the predominantly bright and white lighting, provides us with a false sense of order that veils the discord and confusion in the scenes, reflecting the composed and firm exterior of the bank that hides activities swathed in sin. In general, the films mise-en-scene is constructed to provide a visual contrast between Sallinger and his surroundings, effectively conveying the pervasiveness of his opponent and the difficulty and deceptiveness he faces in executing his duty. An important facet of this is the numbing lack of color in the film, with almost all outdoor scenes shot in overcast, gloomy conditions while indoor scenes are often set in glass buildings or concrete cities. In addition, the music used in the key scenes is neither inspiring nor dramatic. This provides a cold and unemotional backdrop to highlight Sallinger’s vigor and passion, further emphasized by the costumes in the film. While all IBBC employees are dressed in crisp suits exuding efficiency and stoic clarity, our hero is an unshaven and dirty mess and stands out in his loose shirt and crumpled overcoat.

In comparison to other action flicks, I admire the attention that Tykwer paid to establishing realism in his shots. The lack of high-flying stunts from our main protagonist distinguishes the film from other clichéd hero-driven action counterparts (think Jason Statham in The Transporter) and maintains an abstract and earthen feel similar to other Tykwer films such as German action-thriller Lola Rennt (1998). In fact, the culminating action sequence is a messy blur of blood and broken glass that takes place in the Guggenheim Museum, in which Sallinger pays more attention to getting out safely than to killing all the “bad-guys”. This is possibly a symbolic representation of Sallinger’s dogged perseverance in the ultimate disruption of the established order, and adds a human touch to the movie that pleads with the audience to step back and think about the films underlying message.

If you are a fan of action thrillers, The International is a movie that warrants your audience. It is a refreshing change from the Hollywood norm, and displays a creative and artistic approach to complement the coarse violence that is inevitable. Tom Tykwer offers an interesting angle to the film, and his interpretation of the genre is certainly different (I definitely recommend watching Lola Rennt for context!). However, I still find that the director struggles with the length and complexity of the plot. In feeling the need to justify the story to the audience, the films potentially jarring social statement is diluted.