Michael Clayton – Not Seasonal Schlock!

Michael Clayton

Cine Yelmo Ideal
Calle Dr. Cortezo, 6
Metro Sol/Tirso de Molina
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I know what you’re thinking.
In addition to its drab title, “Michael Clayton” has the double curse of
being a Holiday and a Hollywood film. You’re probably imagining a
least-common-denominator plot in which political intrigues, car chases and a
dash of romance conspire to give everyone an adequate, but uninspiring, cinematic
experience.

Ho! Ho! Hold those assumptions about Holiday Hollywood
films! Director/screenwriter Tony Gilroy
has taken the cliché-prone genre of political thrillers and infused it with a
grounding realism. Michael Clayton
avoids the typical pitfalls of two-dimensional characterization, mediocre
acting, and predictable directing to bring audiences a multifaceted thriller
worthy of its Golden Globe nomination.

In place of the standard “good guy versus bad guy” antics,
we are plunged into a morally murky world.
Michael Clayton (George Clooney) is a failed trial lawyer, compulsive
gambler, and mediocre father. Known as a
“fixer” in the legal world, he steps in to remedy situations that more principled
lawyers would avoid. He’s the good guy.

In this scenario, he is pitted against, Karen Crowder (Tilda
Swinton). Far from the conniving antagonists we are accustomed to, we see her
as a conflicted and vulnerable character who is suffering under the intense
pressures of heading an enormous multinational company. She is the “bad guy”.

In addition to a “good guy” who doesn’t fully impress, and a
“bad guy” who you sympathize with, the other characters are equally
non-standard. They include a brilliant
head lawyer in the middle of a bi-polar break – he thinks he’s Shiva the God
of Death – and a precocious child obsessed with fantasy books.

All actors rise to
the challenge of their complex characters.
Particularly notable is Tilda Swinton who masterfully portrays her
character’s life of quiet desperation. Thus, in addition to an adrenaline
inspiring hour and a half, you also get a legitimate drama.

Conveying a message and cultivating suspense without relying
on standard tricks, Tony Gilroy’s direction is masterful. The plot manages to be politically relevant,
showing the less seemly side of multinationals, without being didactic. And, by borrowing from non-linear narratives
(think Pulp Fiction), it does so in an unconventional way. The suspense doesn’t rely on semi-automatic
machine guns and characters leaping from skyscrapers onto passing
helicopters. The movie starts off with
an ambiguous “present tense” and then flashes back leaving you riveted as you
slowly piece together the movie’s beginning.

Very little can be said against this film. A few promising plot lines get lost along the
way, but nothing that distracts from the whole.

In the end, “Michael Clayton” is the perfect compromise for
those who want a solid dose of action in the context of an intelligent script. In the realm of holiday films, it’s one of the few that feels like a gift.

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