Born and raised in China, internationally acclaimed director John Woo just recently began making American films. But due to his longstanding reputation, Woo commands great respect all throughout the Hollywood scene. When a studio executive vastly understated Woo's skills, saying, "I suppose Woo can direct action scenes," Quentin Tarantino responded, "Sure, and Michelangelo can paint ceilings!" Suffice it to say, Woo knows action.
I have never been a fan of full blown action movies. This is not to say that I do not enjoy the action, for me though, it just cannot carry a film. As talented as I have always considered Woo to be at directing action movies, his product has never really intrigued me. That is, of course, except for Face/Off, the movie that I consider to be his masterpiece. What fascinates me about the flick, however, is not the vast array of action sequences, which are thrilling themselves, but is instead the central idea, the concept of immersing oneself in the identity of another and effectually becoming him.
Cool idea, right? Well sure, but of course it is entirely implausible. In order to enjoy Face/Off, however, you must abandon all disbelief of this central hook. Although the idea is ridiculous in itself, the pseudo-science behind it is explained thoroughly enough that you can let yourself buy into it. And hey, if you don't give Jurassic Park a chance just because you don't believe that dinosaur DNA can be reproduced, well, you're no fun. In both movies, accepting the science as it is presented is all it takes to set up the audience for quite a ride.
In a classic Woo slow motion scene, as the opening credits are presented, we get our first glimpse of FBI Anti-terrorist task force leader, Sean Archer (John Travolta), and his nemesis, Castor Troy (Nicolas Cage). While Archer and his young son ride the merry-go-round, Troy loads his rifle with the intent of offing Archer. He hits his target, injuring Archer, but the bullet continues through him, killing his son. We sense that this was not Troy's intention, but he is not all that remorseful either. From this day forward, Archer devotes his life to bringing Castor Troy to justice. We rejoin the hunt six years down the road.
Word hits that Troy and his men, most notably his brother Pollox (Alessandro Nivola), are making a stop at the Los Angeles airport, and Archer's team is immediately on its way there. When the teams meet, our first outrageous, action-packed, explosion-filled, special effects extravaganza commences. This high priced scene that ends with an incredible plane crash smack into the terminal, and then a showdown between Archer and Troy, is only the first of many staple Woo performance sequences. Perhaps we are initially surprised when Archer wins this battle, sending Pollox to a maximum security prison and Castor Troy to his seeming death bed in the hospital. But this entire ordeal is just to set up the real meat of the movie, the switch to come.
Recovering a computer disk from the crash, Archer learns that in only a few days, a bomb of magnanimous proportions will explode somewhere in the L.A. area. No questioning or roughing up of Troy's team helps at all to determine either the date or location of the bomb. It is then that the revolutionary idea of face swapping is brought into the game. Once it becomes the only possible solution to locating the bomb, Archer agrees to put on Troy's face, and, for sake of argument, since it is never explained in the movie, his whole body, to try to trick Pollox into giving up the bomb's secret. The only person in whom Pollox will confide is his brother, so Archer will, in a sense, become him.
Very important note to remember here - only a few members of Archer's FBI team and the one doctor know about the switch. Every one else, including Archer's wife (Joan Allen) and teenage daughter (Dominque Swain), thinks that Archer has gone away to a training camp for a few days. So when security throws Archer (who every one believes is Troy) into maximum security lockup allowing for his meeting with Pollox, Archer is treated just like any other prisoner, and no one there knows the difference.
Of course, the inevitable now occurs. Castor Troy wakes up from his coma, horrified and in terrible pain since he is missing his face, and his only option is to put on Archer's (Travolta's) face that is being preserved. Troy contacts a few friends, they round up the doctor and every one else who knows of the switch, and before you know it, Troy has become Archer, and all the people who knew about the original operation are ereased. Sure, people are going to tell a difference in the personalities of the two men, but who would ever suspect this type of procedure? The scene is now set for numerous showdowns between the men and all kinds of other interesting dilemmas that arise in their lives.
It would probably be too confusing for me to try to explain the plot further, and in case you have not seen Face/Off yet, I would not want to spoil the fun, but Woo's handling of the switch and the plot thereafter is not nearly as confusing as we might expect. All we have to remember is that Travolta is now playing Cage's original character, and vice-versa. No doubt that the actors had a fabulous time imitating each other's character traits and playing both good guy and bad guy, a very rare opportunity for any actor.
Both Travolta and Cage shine as their experience in action movies certainly pays off. Although each has had better roles and given better performances (Cage in Leaving Las Vegas and Travolta in Pulp Fiction), together in Face/Off, they make for an unbeatable force. Joan Allen (Contender) delivers a fine performance as Archer's wife, a role which gives her great dramatic opportunities as she comes to suspect that something is wrong. Dominique Swain (Lolita) is vicious and stunning as Archer's daughter who loves that her father is all of a sudden a whole lot cooler. She has yet to prove herself as a very good actress, but she fills this role quite well and is certainly fun to watch. Lastly of important note, Alessandro Nivola (Best Laid Plans) gives an excellent performance in his young career as Pollox Troy. Look out for him down the road.
Back to Woo - he is the undisputable king of Hollywood action, and he proves why he holds this title time and again in Face/Off. His action sequences, from that at the airport, to the prison escape, to the showdown at Troy's home, to the incredible boat chase, are undeniably entertaining. They are the type of scenes that you watch over and over again just for the thrills. Although he does go over the top in believability, and you have to wonder just how many times Travolta and Cage can shoot at each other before one of them hits the target, you have got to admit that it's a whole lot of fun.
Woo's "Wooisms" (as mangiotto so eloquently calls them) are present in Face/Off as strong as ever. Woo always includes scattering doves or pigeons in his movies, usually to signify a showdown, and this glorious scene is beautifully shot late in the movie in the church. Woo loves using slow motion during times that other directors would not consider it. He uses it during critical points in action sequences, as may be expected, but he also chooses many other instances just for artistic interest or to highlight things that are just plain cool! Although it may seem out of the ordinary at times - with Woo, it works. Another very prevalent Wooism in Face/Off is his staple use of double guns. When we first see Troy (Cage) at the airport, his cape flies open (in slow motion) to reveal two identical pistols strapped to his back. Of course he does not use them one at a time, but he reaches back and draws them simultaneously (though he still cannot seem to hit Archer).
Woo is the king of action, and Face/Off is his most exhilarating English picture yet. In each of his movies, he exhibits his flair for action, but he outdoes himself in Face/Off, lending his beautiful style to a fascinating plot with very intriguing characters. Although the script is definitely weak at times and much of it is beyond believability, Face/Off is the best thrill ride of the past few years, and it is not to be missed!
8.5 out of 10.
Rated R for violence, language, and brief sexuality
DVD Extras: Unfortunately, the DVD release of Face/Off is severely lacking. It was released over two years ago, back when Criterion was about the only company coming out with deluxe editions. At least the movie is presented in widescreen, 2.35:1 format, but other than that, there is nothing to speak of... and at a $29.95 retail, we deserve more. Listen up studios, this is one DVD that definitely needs some rehashing!
This is part of a Write-Off being held by Shadow8 to celebrate John Woo's many achievements. Other talented writers who are also taking part in this are: Mike_Bracken, Psychovant, Donlee_Brussel, JackSommersby, JackFoley, Furie, Elerad, knix, systemdwn, Wokelstein, Janesbit1, Teykaerts, anderclayton, mangiotto, erinys, squeebinatorx, Zentropajk, Lars_Lindhal, and Icemancm.
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