Roboseyo's Untimely Film Reviews: Episode 1: Taken

Roboseyo's Way After The Fact Movie Reviews

wait a minute. . . this movie's been in Korea for about two months, but is still waiting for its North American release. . . what an interesting thing, to be both after the fact and before the fact at the same time.



Movie #1: Taken

Taken is a movie where a retired secret service agent's daughter gets kidnapped in France, and he pulls out all the stops, leaving a trail of death and destruction, to rescue her from the Algerian human traffickers who meant to sell her into slavery. If you care that I gave away the ending, you aren't the kind of watcher who enjoys this kind of movie anyway, because it's not a movie for the plot-twist surprise-ending clever story-line unexpected-revelation crew (go watch The Usual Suspects again, instead, or Oceans' Eleven, or even Fight Club).

This is a movie for people who like to see shit get blew up good (sorry: is that blowed up? I always get my dick-flick diction confused), this picture is for you. Giving away the ending of this film doesn't really matter much, just as long as shit still gets blowed up. Basically, take Die Hard, take out Bruce Willis, and put in a salt-and-pepper-haired Jason Bourne with an absentee father complex instead of amnesia, and you'd have Taken.

While Liam Neeson may be a bit past his Rob Ray/Schindler's List/Best Thing About Star Wars Episode 1 heyday, he still has the gravitas to sell a film, and maybe even to make it better than it should be (cf: Star Wars). Who's to say how Taken'll do in North America? Regardless, it's been surprisingly successful in Korea, for reasons that elude me: it's no better or worse than other action movies that usually last three or four weeks in the cinemas, but this one has been around for a good two months, now.

There are three levels on which the movie works, and this is interesting.

First of all, as a movie you can watch to see shit get blowed up reeeeal good, it is a wild success. While not written or filmed with as much wit and style as Kill Bill I, the action is nearly as non-stop, the plot is linear enough not to confuse any mouth-breathers in the crowd, and the body count is bloody high (pun intended). The fighting sequences are gritty and real (especially the hand-combat stuff, which is almost as impressive as the stuff in The Bourne trilogy, which I think had the best non Kung-fu movie hand-combat ever) Liam Neeson is convincing as the penultimate aging asskicker -- not quite Bill Munny from Unforgiven, but not too far off, either. He's now on the shortlist of candidates to play Batman if they ever decide to put The Dark Night Returns (the greatest Batman story, and maybe the greatest graphic novel outright) on screen.

On the second level, it plays as a morality tale, and it's abysmal: manipulative, lurid and kind of cruel. A man's daughter sneaks away on a tour of Europe under false pretenses, and as punishment for disobeying her father, she gets kidnapped and nearly has her virginity auctioned off to a rich oil shiek, but fortunately, her patriarchal protector happens to be a papa bear as vengeful as Wyatt Erp in Tombstone. This reading of the movie is xenophobic (the darker-skinned Algerian kidnappers: illegal immigrants in a foreign country, to stack evil upon evil for all the adventureless homebodies who never felt wanderlust, or who want the wanderlust to be scared out of their sons and especially daughters). The movie is sexist: the females in the movie are all passive: the ex-wife is now a trophy-wife, and a manipulating bitch, and all the other females are kidnapping victims strung out on drugs and chained to beds to be sold as whores, for the sin of travelling alone. It belittles women, especially the daughter, who is sixteen, played by about a twenty-four year-old, acts fourteen, and dresses as if she were seven, in polka-dot one-pieces. The big bad world is full of big bad dark-skinned baddies who want to kidnap and rape you if you dare wish to see the world. . . better to stay home in your drawing room and cultivate more feminine arts like drawing, needlepoint, conversation, and swooning.

In fact, the reason I saw it at all is because Girlfriendoseyo's friend recommended it to her. . . after the movie it occurred to Girlfriendoseyo that this very friend is the same one who disapproves of her wish to travel and her love of walking around her neighbourhood alone at night, for fear of rapists and organ harvesting kidnappers (I kid you not). She'd sent her friend to see Taken to have the wanderlust frightened out of her. This read of the movie is cruel, brutal, ugly, xenophobic, and would have us all glance at darker-skinned people with suspicion, suspect government officials of corruption, and never vacation farther than the nearest beach, because we all know that rapists and creeps live in some other town and not here.

I'm not sure which of these reads is the one that appeals to Korean viewers so much: the movie's still playing here in Korea, after two full months -- a surprisingly long run.

The third read of the movie didn't come out until about halfway through, and it was interesting. See, there's this torture scene halfway through, where papa bear needs to get some information (I think it's a name), in order to move to the next notch on the "rising action" plotline arc. Pardon the graphic description, but at least you didn't have to see it: he does it by tying his prisoner to a chair, jamming iron spikes into his thighs, attaching jumper cables to the spikes, and connecting the cables with the light switch in the room. He comments casually how the power grid in France is excellent, so the supply of electricity will never falter and ruin the rhythm of the interrogation. . . isn't that nice! Much better than messing about with extreme rendition, outsourcing torture to Syria or something, where the infrastructure isn't as reliable. The torture scene ends with papa bear getting the information he needs, turning the power supply on, and leaving his prisoner anyway, to die of electrocution/pain/thirst - whichever comes first; he doesn't really care. Now here's what that scene accomplished:

1. it reminded me of the recent controversy over the US torturing, and also "extraordinary/irregular rendition" of prisoners.

2. it was disgusting. It really was. It was shocking and brutal and the way the tortur-ee acted stirred up real pathos: yeah, he did bad things, but. . . to be treated like this?

3. That fact -- the fact I was disturbed by this torture scene, pointed out to me the fact that, up until that point, I had basically written Papa Bear a moral blank check to act however he wanted, because he was a retired special agent looking for his daughter. All it took for the filmmakers, was to play the family card -- the papa bear ploy, if you will, and suddenly (as in Kill Bill, with the elemental "revenge" narrative) we moviegoers happily suspend all moral judgment, and justify any behaviour, because he's doing it for his family. . . given the ability and the circumstances, wouldn't you do the same? Later in the movie, he goes into someone's house, threatens his family, shoots his wife in the shoulder, and threatens to finish her off, if he doesn't tell him where to find the traffickers. Violating someone else's family, to defend his own family? So what if the other guy's a creep -- Papa Bear's lost any moral high ground, any hero cachet he once had. Now he's just the merciless avenger -- the Man With No Name from Clint Eastwood's old trilogy, ready to kill for money, for pride, or just because I'm Clint Eastwood, who the hell are you?

(badass quote of the day: from Unforgiven: "That's right. I've killed women and children. I've killed just about everything that walks or crawled at one time or another. And I'm here to kill you, Little Bill, for what you did to Ned.")

and finally, once I'd had that realization, back to point two. . .

4. It wasn't OK to give him a free pass. So what if he's doing it for his family. Does that final scene where he rescues his daughter from the dark-skinned baddies and their lupine-faced, morbidly obese boss, justify the fifty or seventy people he killed? No, it doesn't. Curb-stomping fifty other people, often brutally, to save the virginal daughter isn't inherently OK, even if his daughter is really great and pretty and innocent. Papa Bear's methods sapped whatever moral authority he had at first, and his short time-frame (ninety-six hours from kidnapping to losing his chance to recover his daughter) didn't justify it; what he did was still shocking and cruel.

By the way: (Another great exploration of moral authority is Spielberg's movie "Munich," which gave an honest and complex enough look at the terror/counterterror, "you kill my guy, I kill yours" war of retribution Israel fights against its enemies, that Spielberg was criticized for being both too pro-Israel AND too pro-Palestine [and then criticized again by those who thought the movie suffered because he didn't take a side]...a paradox interesting enough to make me want to see the movie.)
So, in the end, the reunion between father and daughter was unsatisfying to me, because the means had gone so far beyond the pale, that the end was hollow. Now, maybe I was looking too far into this one, and maybe I'm giving Luc Besson too much credit, but regardless, that's what I got out of the movie.


And so, masked in this shoot-em up kicker, and a cloying morality tale, by the mere fact it goes beyond what we're willing to forgive under the Papa-Bear clause, back again into the realm of the disgusting and shocking, and highlighted by the brief discussion of American torture methods, is an interesting critique of the U.S. "better your children than ours"/"security by any, and we mean any means necessary" foreign and domestic security policies, wherein it's OK for Iraq to live in a police state, and for Iraqi kids to be afraid to walk to school, so long as American kids can feel safe when THEY walk to school, because the rest of the world (or at least those looking to stir up trouble in the rest of the world) looks at the mess in Iraq and goes "Holy hell! That's how far they'll go if we piss them off. Let's try to bully England instead: those crazy Yankees are NOT to be F*CKED with!"

A pertinent quote:

"Every ten years or so, the United States needs to pick up some small crappy little country and throw it against the wall, just to show the world we mean business."

- Michael Ledeen, holder of the Freedom Chair at the American Enterprise Institute

Interesting movie, though. Much more thought provoking than I thought it would be. And yeah, I've been told I think too much before. Why do you ask?

P.S.: Liam Neeson's most badass scene, from Rob Ray: arguably the best film sword fight ever, certainly the best since The Princess Bride. (and mercy me, I remember absolutely despising the bad guy in this movie) -- is the correct term "badassitude" or "badassery"? Anyway, in case you ever doubted Liam Neeson's badass. . . ness, here you go.


and from The Princess Bride (did you know in the screenplay, it actually says, "And what we are starting now is one of the two greatest sword fights in modern movies (the other one happens later on)..."
. . . more discussion of the "greatest cinematic sword fights" topic here.

Other Nominees:
Kill Bill 1
Highlander
Star Wars, Episodes 1, 3, 5, and 6
Lord of the Rings: Fellowship of the Ring