The Telegraph
Friday , October 19 , 2012
Since 1st March, 1999
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Ben Affleck’s hostage drama

The physical requirements for the scene weren’t complicated. Bryan Cranston, who plays CIA manager Jack ’Donnell in director Ben Affleck’s hostage rescue drama Argo had to walk from one office to another, and as laid out in a Los Angeles set late last year, a straight line ran from point A to point B.

But before Cranston took a step, Affleck pulled the actor aside and redirected him.

Iranian militants had just stormed the US embassy in Tehran, and details about the 1979 takeover were muddled — the situation was chaotic, and ’Donnell’s demeanour had to reflect that. What’s more, ’Donnell had to deliver more narrative exposition than could possibly fit if he walked and talked without any detours. So Affleck plotted a zig-zagging path filled with barriers such as desks and chairs, giving the character not only the time to explain the event but also plenty of impediments to dramatise the pandemonium.

“It seemed kind of odd, but the director can inform the audience what the physical geography is,” Cranston said. “What it told me was that Ben was still telling the story.”

While it was but a small moment in the Warner Bros film, Affleck’s choice in directing Cranston highlighted a combination of intelligence, filmmaking savvy and attention to detail rarely found in studio productions. In one of the first meetings Affleck had about directing Argo, the Armageddon alumnus talked about film stock and camera lenses, not marketing hooks and stunt casting.

Opening Friday, Affleck’s third film as a director (following 2007’s Gone Baby Gone and 2010’s The Town) won early acclaim from critics and audiences at the fall film festivals. Argo is already generating favourable mentions from all manner of awards prognosticators, and Affleck has been singled out not only for his work behind the camera but also in front of it — he stars in Argo as Tony Mendez, the CIA operative who invented the rescue scheme.

Yet the film, which is based on real-life events but goosed with fictional third-act suspense, is as much a stand-alone movie as the cap to a remarkable Hollywood comeback story.

Less than 10 years after dwelling in the industry’s punch-line fringes, owing largely to the disastrous Gigli and his relationship with co-star Jennifer Lopez that branded the couple “Bennifer,” the 40-year-old Affleck has transformed himself into one of the town’s most sought-after directors. Like actor-directors Clint Eastwood and George Clooney, Affleck is determined to make intelligent crowd-pleasers, and his first two movies did just that.

Though more than a few directors are comfortable essentially remaking the same movie again and again, Affleck quite purposefully chose Argo because he’d never done anything quite like it. Both Gone Baby Gone and The Town were crime dramas set in and around Boston. While they were commended for sharp performances and execution, the two films fit rather narrowly into a well-travelled niche.

‘Greedy to be a part of it’

Argo, adapted by Chris Terrio from a Wired magazine article and a chapter from the memoir by the CIA’s Mendez, defies easy categorisation. It’s a hybrid of historical drama, spy tale and political thriller, stirred together with sharp jokes spoofing Hollywood — and all of it based on a little-known mission declassified in 1997. With a price tag of about $44 million, Argo is also one of the season’s more daring gambles, the kind of movie most studios stopped making in the last decade.

As Iranian militants stormed the US embassy, six State Department employees narrowly escaped the takeover, hiding with Canadian ambassador Ken Taylor. To bring the Americans home, Mendez had to concoct a plan that would allow the house guests essentially to walk out and fly home in plain sight. Mendez’s epiphany was to have the six pose as a movie crew, and to sell the con Mendez created a fake movie called Argo and a bogus production company.

“I was so greedy to be a part of it,” said Affleck, who was a Middle Eastern studies major at Occidental College before dropping out to act and team with Matt Damon to win the original screenplay Oscar for 1997’s Good Will Hunting.

Terrio’s script had been developed by producers Grant Heslov and Clooney, and the two had seen something in Affleck’s first two features that convinced them he was a wise Argo pick.

“They were not ground-breaking stories but they were really well told,” Heslov said of Gone Baby Gone and The Town. Clooney said he was disinclined to say Affleck has grown as a director. “I’m not sure about ‘growth’ because that would imply that his first two films were somehow lacking,” Clooney said. “I loved them both.”

Terrio’s script makes a number of departures from actual events, most notably toward the film’s climax, which was far less suspenseful in fact than in the finished film. Affleck also added a preface to the story, delineating America’s complicated relationship with Iran, and how our sheltering of its deposed shah played a role in the region’s revolt.

“I wanted to have the audience have a context. Which isn’t to say that we were going to lay blame on the United States — or on Great Britain, which was the much more involved power colonially — but to look at the complications of the story,” said Affleck, who in person is more confident than cocky, willing to make fun of himself and his career missteps.

“My only hesitation at the beginning was figuring out what the tone would be if you don’t want it to be a smug movie,” said Terrio, who has adapted the French thriller-love story Tell No One as a remake for Affleck to potentially direct. “It could be a movie that is full of nudges and winks.”

To avoid that trap, Affleck and Terrio excised some of the Hollywood gags from the film’s later chapters, so that the urgency of the real situation could lead the way. And that’s where Affleck’s understanding of storytelling is most apparent; the tension feels organic.

Even if Affleck relaxes between takes as an actor by doing crossword puzzles, he’s more than a little obsessive about his work. He will occasionally go back and tinker with his editing of Gone Baby Gone, The Town and Argo, asking whether he could have made better cuts here or there. “I get neurotic about it — did I make a mistake there? Should I have done something else here?” he said.

“I hope the consistent theme is that the characters are complicated and that there’s nobody who’s particularly good and there’s nobody who’s totally bad,” he said. “The idea that there’s complexity to the character of a man or a woman is really interesting to me. Tony Mendez is interesting to me — he’s got failings.”