When a director of John
Boorman’s caliber (Deliverance, Hope and Glory, Emerald Forest)
attracts talent like Geoffrey Rush, Pierce Brosnan, Jamie Lee Curtis,
and director of photography Philippe Rousselot (Academy Award Winner for
best cinematography in A River Runs Through It) in a movie based
on a novel by John le Carré, who also co-wrote the screenplay, the
expectations alone could ignite a few sparks. In movies, though, high
expectations often enough translate into viewer disappointment. Sadly,
that is the case with the Tailor of Panama.
Pierce Brosnan plays
MI-6 operative Andy Osnard who is banished to Panama for, among other
things, having his cover blown on the front page because of a sex
imbroglio. If he provides information about the future of the Panama
Canal, Andy just might save his reputation. From the list of about 200
British residents in Panama, Andy targets Harry Pendel to be his eyes
and ears in the Panama political circles. Harry (Geoffrey Rush) is an
ex-con turned husband, father, and tailor to the Panamanian elite.
Although basically a decent man, Harry is a rambling buffoon equally
famous for his stories as for his tailoring. Under pressure, Harry
starts feeding Andy bogus information, but Andy is only concerned about
raising enough fuss so he can slip out unnoticed with the real prize.
To play Andy, Brosnan
leaves behind the suave, honey-lipped James Bond, and makes a
fascinating transformation into a cynical, manipulative, and chronically
oversexed opportunist who follows or breaks the rules of the game
depending on which better suits his personal interests. Andy actually
makes for an amusing character study of a bad guy so in love with
himself that he openly flaunts his unscrupulous motives and still gets
what he wants, especially with women. For such a despicable character,
though, Andy is uncharacteristically non-violent. Instead of pulling the
latest high-tech spy gadgets out his bag of tricks and engaging in
senseless, visual effects driven action stunts, Andy serves up memorable
pick-up lines, deception, and confusion.
Geoffrey Rush
approaches the role of Harry Pendel with equally admirable authenticity.
The actor went as far as taking tailoring lessons in order to deliver a
fascinating suit-cutting scene and to look confident with the chalk
during many of his delightfully embellished exchanges with Andy in the
claustrophobic fitting room. As the farce gains momentum in the midst of
eminent tragedy, Rush’s performance as the basically well-intended
tailor who’s been played for a fool becomes the driving force of the
film.
Unfortunately, the
complexity of the plot, with its fast paced maneuvers between major and
minor characters with their own little intrigues, suffers within the
two-hour time limit. A crucial subplot between Harry and his wife Louisa
(Jamie Lee Curtis) is not allowed nearly enough development considering
the role Louisa plays in the resolution. Also, the farcical undercurrent
no doubt intended as a refreshing departure from the thriller genre
often muddles the impact of the film.
Filmed almost entirely
in Panama, the Tailor of Panama succeeds in capturing the exotic
beauty of the place along with its cultural and urban milieu. Philippe
Rousselot’s lens looks clearly into the background and captures the
passing of every day lives. In one scene, the background could be a
larger than life cruise liner, squeezing through the Panama Canal; in
another, it could be a passing glance into the overcrowded one-room
residences of the poor.
If
high expectations can ruin a movie, then perhaps knowing what not to
expect just might make watching the Tailor of Panama a worthy
diversion for some.
