Director Ben Affleck’s Oscar-baiting new film “Argo” combines period piece prestige with displays of self-congratulatory Hollywood mythologizing. In other words, the only way Affleck could court the Academy any further would be to change the title of his film to “For Your Consideration.” Thankfully, “Argo” remains a smart and capable political thriller amidst the award season shakedown.
“Based on a declassified story” according to its trailer, “Argo” storyboards the history of American’s meddling in Iran beginning with the CIA overthrow of democratically- elected Mohammad Mossadegh in favor of U.S.-friendly dictator Shah Pahlavi. The blowback from the events of this government-sanctioned coup d’etat drives “Argo” and introduces a level of moral ambiguity for CIA operative and hero Tony Mendez (Affleck), elevating the film above standard genre fare. This ambiguity extends to the film itself as Affleck intercuts newsreel footage with verite-style reenactments, which straddles the line between documentary and construct while introducing media as the dominant motif.
After the U.S. refuses to extradite the Shah back to Iran following the Iranian Revolution, student protesters surround the U.S. Embassy in Tehran. The chorus of chants grows louder as American diplomats attempt to shred all sensitive documents before protesters storm the gates. The volatile political situation in the streets turns the city of Tehran into a single antagonist with thousands of blurred faces erupting after decades of American interference. These faces eventually engulf the embassy in one of the most frightening sieges ever filmed.
However, six Americans manage to escape and take refuge at the home of Canadian diplomat Ken Taylor (Victor Garber). Between Iran’s Revolutionary Guard Corps painstakingly reassembling the shredded photos of the six missing diplomats and the protesters’ distrust of anyone who looks American, the refugees have no means of escape.
Enter Tony, who hatches an elaborate extraction plan where he poses as a Canadian film producer scouting locations for a sci-fi film with the six Americans acting as his crew. Tony sets up a shell production company with Hollywood veterans Lester Siegel (Alan Arkin) and John Chambers (John Goodman) to validate the fake movie. While Arkin and Goodman are a welcome addition to any film, “Argo” feeds them several misplaced winking nods about Hollywood (Writers Guild jokes, anyone?) that add levity to a film that doesn’t need it. Whether Affleck intended to show each step in the filmmaking process as a parallel to the decision-making process of government agencies is unclear. However, the film’s momentum slows the longer he diverts attention away from the American diplomats.
Once the film commits to being a thriller and not a Hollywood commentary, “Argo” becomes the Oscar-worthy film it’s reaching for. In an act of cinematic wish fulfillment, several characters in “Argo” receive awards during a private ceremony. With Oscar nominations a few months away, Affleck will have to wait to see if life imitates art.
