The Two Faces of January – Film Review
Director: Hossein Amini
Starring: Viggo Mortenson, Kirsten Dunst and Oscar Isaac
Release Date: May 16
Exploring themes of duplicity and ambiguity, The Two Faces of January teases a reference to Janus, the Roman god of beginnings and transitions, who also had two heads, one looking into the past, the other into the future.
This is a frame of reference that the director, Amini, uses in crafting his characters in an exceptionally atmospheric and luxuriously presented thriller about a con-man, a trickster and the woman who drives them apart while simultaneously bringing them closer together.
Set in 1962, we are immediately introduced to the relentlessly charming swindler Rydal, who uses his charm and knowledge of local culture to con unsuspecting tourists out of their money (with swooning college girls being his primary targets).
He sets his sights on the MacFarlands, a couple who radiate opulence through their well-tailored suits and calculated middle-aged beauty. He soon finds that this endeavor requires quite an investment however, as Chester MacFarland carries with him a suitcase full of dangerous history (but not a History of Violence).
It should come as no surprise that this is based on a Patricia Highsmith novel, as it shares a near identical plot to that of The Talented Mr. Ripley, based on another of her novels. And like that film, it boasts gorgeous locales for the films entirety, sweeping the audience into its comfortable, if somewhat dusty, grasp.
It becomes a little too easy to just fall into the conversations these beautiful people are having with one another, allowing their charm and the beautiful onscreen sunshine to disarm you to the point of happy indifference. Luckily, it has a gripping plot that is carried with great competence by its talented cast as well.
The standout is Mortenson, who exudes a subtle air of menace while maintaining his fatherly gait when dealing with Rydal. You get the distinct impression that he acts as a father on set as well, offering professional acting tips to the less experienced, but no less talented, actors he shares the screen with.
In fact, he seems to take any opportunity to do the respectable thing and allow Isaac or Dunst to flex their acting muscle while he simply blends into the background. The problem, if you can call it that, is that he is simply too good to fade away.
A tense dinner-table back-and-forth in which he is meant to come across as sullen while the others chatter enthusiastically is a mini-masterpiece in character quirks and subtle facial expressions.
Just as the film’s central message is centered on beginnings and transitions, we can see a parallel between it and Viggo Mortenson and Oscar Isaac’s career. It would be optimistic to say that the much-loved Lord of the Rings star was a Hollywood darling (Mortenson often only accepts niche films, with LOTR being the one rather massive exception), but if there were a mantle to be passed on, we get the sense that Isaac would be an excellent contender for it, or at least be willing to share it.
Like Mortenson, he possesses an air of rugged artistry. Isaac is an unconventionally handsome and thoroughly charismatic actor, but he is slowly proving that he possesses another, much sought after, characteristic in show-business: flexibility.
Proving himself in the low concept folk tale that was Inside Llewyn Davis, he explored a more menacing role in the film adaptation In Secret, (released May 16). It was only recently announced that Isaac had been cast in the new Star Wars film being directed by J.J. Abrams, and this represents a serious change of direction in his career.
Whether he has the ability to engage with such an action packed genre film remains to be seen, as those films differ hugely from anything he has featured in before. Two Faces leans slightly in that direction, and Rydal is different enough to Llewyn Davis to belay any accusations of him simply being a one-trick pony.
His Rydal is slightly more vulnerable, yet strangely more assured of himself than Llewyn, a more suitable persona for a thriller. It is a subtle yet masterfully applied trait that assures us that Isaac can handle whatever is thrown at him.
The only downside to this exploration of characters is that, although delivered almost flawlessly, it lacks warmth. Yes, these characters are charming, the locations inviting, but no one is particularly sympathetic or relatable. As both Chester and Rydal are borne from deceit, we only get a glimpse into their personal lives. And on these occasions, it feels as though we either can’t trust what we’ve seen or we’ve accidentally walked into a private argument.
Dunst serves to diffuse this tension by seeping a little playfulness into the narrative, and she applies this surprisingly well. She is an instantly likable presence, much like Mortenson, and manages to maintain that likability for the most part.
But unfortunately, with lies running as rampantly as they are, even she becomes suspicious in her motives (a trait exacerbated by the jealousy she causes between the other two).
It may not be easy watching, but then, not many thrillers are.
The director, Amini, has a talent for this genre, injecting adrenaline into scenes and making it look so easy. One fantastically tense scene sees Chester simply watching Rydal from a bus window, while some policemen are patrolling nearby. It is deliciously simple on the surface, but with a great many elements at work in that one shot.
This accurately summarises the film as a whole as well. It is a narrative with a number of perpetually grinding cogs and intricacies, but can be examined broadly for what it is at face value. What it stands for is, well, ambiguous.
Score: 4/5
Written by Stephen Hill
Please Join us on your Social Platform of choice
