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Argo
Iran, 1979. Tensions
between the Middle-Eastern nation and the United States were on edge.
In its mission to establish and keep peace in the country, America
moved into Iran to overthrow the Shah of the time, Mohammad Reza
Pahlavi. He was taken back to the United States and not permitted to
return to his home country and reclaim his position of power. In
response to this, a large number of Islamist students and militants
who were supporting the Iranian Revolution begin to gather outside
the American Embassy in the capital city of Tehran. What starts as a
protest looks like it could soon escalate into a possible attack.
Within the embassy, the American staff anxiously watches out the
windows as the numbers of Iranian’s grows, and a few actually jump
over the fence and enter the compound. Seeing this, the Embassy’s
leaders order all documents and files to be destroyed immediately. In
the process of this, the protestors barge through the gates and
converge onto the building.
Despite trying to stand
their ground, the staff in the embassy is overthrown and loses
control of the building. The majority of them are taken hostage, and
would remain as such for many months. But six of them sneak out
through the back door unnoticed and find safety on the outskirts of
the city. Holding up quietly in the home of the Head of the Canadian
Embassy, they manage to live here unnoticed for several weeks but
naturally, would like to eventually return home to the US. They know
that if they take one step outside and get spotted on the street,
they will most likely be captured and killed. The American government
gets wind of where they are and decides they will go in there and
pull them out.
So there’s the
history of the true story behind the film. Sounds like something that
has happened many times before in the world, more or less; hostages
are taken all the time; a nations people protest and can defy their
own governments and leaders almost overnight; most of the world’s
countries will not negotiate with terrorists or give into an enemy’s
intentions to blackmail them. Instead, a country’s government will
do what they can to save their own residents in the quickest, safest
and most diplomatic way possible. But this usually doesn’t involve
making a fake movie.
Enter Tony Mendez; an
exfiltration specialist with the CIA. His job is his life, and he
does it well. As the US government’s top officials are shouting
ideas across the table on how best to pull the six American’s out
of Iran, they come up with scenarios that all have major flaws.
Whatever they think of, it won’t work for some reason, and Mendez
makes sure to let them know that. But this man is not the type to
gloat at the failed plans of his government co-officials; Mendez
openly and honestly admits he doesn’t have an idea himself…yet.
But inspiration comes from the strangest places. When talking to his
son over the phone, who tells his dad that he watched a movie that
day, Mendez gets an idea from this. Make a movie! What does this have
to do with rescuing hostages you might be wondering? Don’t fret, as
that all comes to light in brilliant fashion throughout the movie.
Mendez shares his idea
with the CIA. He will simply fly into Iran and pretend to be a
filmmaker. He will scout areas in the Iranian city and surrounding
deserts as possible locations for his upcoming movie, and fly out
with his Canadian film crew who are already there. That film crew
being, the six embassy workers who are hiding out in the city. Just
as he came in, they will exit through the airport, with fake
passports and new names, and just like that, escape out of the
country and gain their freedom. But for an idea like this to work, it
needs to have some serious credibility. So before flying into Iran to
try and pull it all off, Mendez does some leg work in the United
States first. Through some contacts in the film industry, Mendez gets
a producer on board. He finds a script, called Argo. They audition
actors. He gets an article written up in a major Hollywood
entertainment magazine. The pre-production phase is complete. Now
comes the production stage; operation Argo.
Argo is a film everyone
needs to see and for many reasons. It goes deep inside a chapter of
history that many people today may not even know about. It is a good
example of how one nation's choices can incite another nation’s
anger, and turn its people into a force to be reckoned with. It asks
the question which is still extremely relatable to today’s global
events; when does a country have the right to take power away from
another and who makes the decision that will ultimately affect the
lives of others? Argo addresses this question, but doesn’t answer
it. It instead uses this topic to set its stage. And this stage is
executed and explored in formidable fashion by all the talent
involved behind and in front of the camera.
Affleck doubles as
director and star, playing the role of Mendez with heart and
integrity. He is surrounded by a stellar cast who all have pivotal
roles; no actor is overlooked, undermined or under-utilized and with
something close to one hundred separate speaking parts in the film,
there are many, many characters to meet. Argo is set in the late
seventies and the entire film has the look and feel of a low-budget
picture from that era. There are no special effects, now real action
set pieces to speak of, or mighty musical scores to try and elevate
the emotion. The power of this film is in its story. It moves at
breakneck speed, and doesn’t stop for a moment. Told in a tight two
hours, it crams a lot in and you will be better off for having
watched it.
As I watched this
movie, I could really feel the tension, excitement and suspense
building up, and this intensifies towards the end of the film in a
way I have not seen for a long time. You know those kinds of movies
that make you talk back to the TV, saying things like “Come on,
hurry up” or “Don’t stay there” or “Get moving” or “Shit,
they’re right behind you”. You bite your nails, sit up in your
chair and start to experience what the characters are
experiencing. It’s like you’re trying to tell them what to do,
but they can’t hear you, and it’s terribly frustrating but
extremely exciting at the same time. Argo will have that affect on
you. There is some great magic at work in this film; it gets
everything right, and reminds you how involving and engrossing films
can be when handled well enough.
At the time of its
release late last year, Argo quickly garnered a lot of buzz and
critical acclaim. Ben Affleck had already established himself as an
important filmmaker on the rise, after directing two solid efforts
before Argo. But everyone was walking away from seeing this picture,
totally raving and touting it as his best movie to date. As the
Academy Awards announced their nominations for 2012’s films, Argo
received seven nominations, including Best Picture. It was up against
some stiff competition however, but come Oscar night in late February
of 2013, it took out the big prize; winning Best Picture and
officially cementing its place in movie history as a modern classic.
It’s a fascinating
story, and what’s most fascinating is that it was all true. The
events that unfolded over thirty years ago and which have now come to
life in this film are a terrific example of the power of creativity.
Everything in life starts with an idea, and it’s usually the
boldest, strangest, most daring and unorthodox ideas in history,
which make the biggest difference and leave the legacies that last
longest. Tony Mendez believed in his idea, and was intent on pulling
his fellow Americans out of that damned mess no matter what it took.
Despite what his own government thought and all the doubt and sense
of doom surrounding the audacious plan, he followed through with it,
going off in his own direction and pulling off his plan like clock
work. And the good news is that it all paid off for him. This
incredible and real-life achievement proves how tactical thinking,
when done outside the box, can achieve amazing things. Same goes for
the filmmaking talents of Ben Affleck. With this being only his third
film as director, I eagerly await what his next picture.
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