The Bourne Identity Review
by John Sylva (DeWyNGaLe AT aol DOT com)June 28th, 2002
THE BOURNE IDENTITY (2002)
Reviewed by John Sylva
Having been released the same weekend as a certain film about a dog named "Doo," and, considering nearly every major critic in America used the phrase "Scooby Don't" in his or her review, I think I'll give the latest incarnation of Robert Ludlum's The Bourne Identity an equally lame albeit deserving riff of The Bouring Identity.
Disjointed more than anything, The Bourne Identity marks a change of pace from the usual night-club oriented fare (Swingers, Go) of director Doug Liman, who brings his signature flair to the proceedings but fails to create a distinct tone while doing so.
When amnesia-stricken CIA operative Jason Bourne (Matt Damon, also in a change of pace) first finds himself rescued by a group of fishermen after a near-drowning on the Mediterranean, Liman's approach with the picture appears to be a darkly serious one; but as Bourne travels through Europe in search of his identity, oddly karate-chopping anyone who stands in his way, the film opts for a more spontaneous, what-next? feel; then, as he develops a romance with a woman (Run Lola Run's Franka Potente) he paid for a ride to Paris in her Mini, moments of romantic tension and the whole bit find their way into the otherwise purely testosterone driven film; as politics regarding assassination attempts on an ex-African-American leader enter, the happenings grow pretentious; and finally, as CIA agent Ted Conklin (Chris Cooper, chewing the scenery) desperately attempts to have Bourne killed, things simply grow tiresome. Each of these sections plays out with a distinct mood-frantic, calculated, romantic, confused-never quite connecting with the film's other parts, making the viewer's engagement nearly impossible.
Bourne's brightest spots go hand-in-hand with those that feature the least action. As Bourne recovers his safe deposit box from his Swiss bank account, the film makes a rare emotional connection; finding various passports, large sums of money, and a gun inside, Bourne goes into a state of deep confusion and frustration as to why he'd have these items. Liman slows down just enough for the viewer to sympathize with the character-but before you can blink he's off and away performing another escape intended to leave the viewer awestruck.
Rumor leaks Liman was so displeased with the production at one point he threatened to sell his directing credit on eBay-perhaps screenwriters Tony Gilroy and W. Blake Herron should have opted to do so instead as they've taken little joy in adapting Ludlum's novel to the screen. The James Bond film series endures because 007 provides a sense of playfulness-one that's allowed the franchise to survive for 40 years now. But The Bourne Identity comes up short in this department, even during a curious car chase through Paris that has served as the film's marketing point. A spy thriller set against overwhelming European locations may sound like a treat, but Liman's work winds up kind of like that one museum exhibit that's great to look at but always gets bogged down by those pesky "Don't Touch" signs.
GRADE: C+
Film reviewed June 27th, 2002.
More on 'The Bourne Identity'...
Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
