Proof of Life is what I would call an interesting blender experiment. On one hand, we start with Missing In Action (an awful Chuck Norris film, if that's not redundant) and Let's Get Harry (a solid Mark Harmon vehicle). Then, we mix in just a sprig of Casablanca and a touch of Missing. Blend. The result is a film that is as often overblown drama as it is solid and gripping. Overall, the film succeeds due to some directorial restraint and good acting, as well as a script that veers away from jingoistic sentiment.

The film opens with Terry Thorne (Russell Crowe) recounting his latest rescue mission as an employee for the K&R (Kidnapping and Rescue) division of a large insurance company. It's a good staging scene for the rest of the film, as we are presented not only with the dangers of such an operation, but the less obvious challenges one must face, like corrupt government officials. As early as this first set of scenes, it's obvious that Crowe will be fantastic in this role, as he is in generally everything he's in. Terry is daring and intelligent, but coupled with real vulnerability and loss. In a subsequent scene, we see him with his teenage son, interrupting his rugby practice to tell him that he's leaving town again. The stilted formality of the interaction is wonderfully awkward, and Crowe conveys brilliantly a sense of sadness at not being able to connect deeper with his son.

The reason he's leaving town is because Peter Bowman (David Morse), an American civil engineer subcontracting for a large oil firm in a fictional South American country, has been kidnapped by renegade terrorists. His wife Alice (Meg Ryan) is understandably jarred by the news and finds comfort in Terry, who has showed up to lead the negotiation. Joining them soon is Janis (Pamela Reed), Peter's overbearing and annoying older sister. Terry gives them a verbal inventory of things to be aware of in scenarios like this, and it's clear that his calm comprehension and professionalism is exactly what they need to help them through this.

Quickly after Terry arrives to the rescue, however, he's soon whisked away as it is discovered that the oil company Bowman was contracting for never renewed their insurance on their employees. Alice and Janis are forced to utilize a local law enforcement official for negotiations -- someone they are both uncomfortable with. Of course, it wouldn't be much of a movie if Terry doesn't return -- which he does on his own -- is it because of the pity he feels for Alice, or are his motives more carnal?

The rest of the film becomes the efforts of Terry to negotiate with the terrorists, to find a more reasonable ransom price than the initial $5 million asking price. It's clearly a business - one we learn that augments the cocaine dealing of the terrorist group as a supplemental source of income. (Apparently, cocaine is no longer a big enough business on its own.) Terry also meets up with fellow K&R mate Dino (David Caruso), among others. We also see subtle suggestions that both Alice and Terry are developing more than professional feelings for each other. I emphasize the word subtle, but I'm leery because that might not be strong enough of a word. Now, I'm all for crediting viewers with intelligence, but so much is left unsaid and undone here that when Dino asks Terry if he's in love with Alice, the question seems ridiculous to the point of laughter. That Terry does not actually laugh is, in fact, our first real suggestion that there might be something going on. (And, of course, an acknowledgement of how easy it probably is to fall in love with Meg Ryan.)

Proof of Life is probably known to most viewers because of the scandalous offscreen romance between Ryan and Crowe, and hence it is probably surprising to most viewers how underplayed the onscreen romance actually is. (This, of course, is a nice thing, since the movie is about rescuing her husband who is being held hostage.) For those looking for a torrid romance, Proof of Life is not the picture for you. The film it's been compared to is Casablanca, in that Terry is forced to rescue the husband of the woman he loves, who -- assuming her husband is dead, which at one point Alice does -- is ready to leap into his own arms. It's the hero's sacrifice, made poignantly and unforgettably by Humphrey Bogart years ago. While it's no great crime to not be the next Casablanca, one must remember that the love between Bogart and Bergman was a vital part of the plot of that film. Here, it's so subtly done that when it does become a major plot issue, it seems a bit out of place and somewhat contrived.

Another element that hamstrings the film is the choppy acting. While Crowe is clearly one of the great actors working today (I think he could successfully convince me he was a cotton swab if the role dictated such), Ryan is…well, she's awfully cute. She's capable, but never completely convincing. As hostage Peter Bowman, David Morse is actually quite good, and it's nice to see him getting more sizeable roles. (He should, however, never, ever wear his hair as he does in an opening scene where he's dressed in black tie. It looks laughably bad.) More problematic from an acting standpoint is Pamela Reed, who plays Janis, the older sister. Reed has the odious task of playing an unlikable and unnecessary character, a problem that she compounds through flat, atonal acting. She's really not a very good actress, at least in this film. I found myself grating my teeth every time she came onscreen, wishing that better editors had just wiped her character out of the story. David Caruso, who is probably still wondering why Jade and Kiss of Death didn't launch him to super-stardom, also has an uneven performance. Frankly, it's probably his dialogue more than anything else, but during the otherwise excellent climatic scene, Caruso's character of Dino utters some lines that are woefully out of place and uninspired. Also worth noting is Anthony Heald as Ted Fellner, an executive for the oil company that Bowman works for. Heald is most recognizable as playing Dr. Chilton in Silence of the Lambs, and for all future casting agents -- he is now and forever will be considered a sniveling corporate toadie who cannot be trusted, so understand that is how viewers will assess him immediately.

While the script is generally somewhat tight, the story itself has a few holes in it. A twist midway through the film seems flat, largely because of insufficient backstory. The terrorists are largely caricatures, conveniently true bandits who deal drugs and have no real political motivation -- in this, we can sympathize solely with the protagonists. It would have been much more interesting, though additionally more complicated, to see villains with true purpose and agenda, rather than Rambo-izing them. Indeed, we do recognize one female terrorist as having a good heart, but this never really gets explored. We see enough of Bowman's corporate peers to suggest that there was a side plot of corporate conflict, but again, it's merely a suggestion.

All of this adds up to a movie that is certainly quite capable, and in some scenes far above average. The climatic ending sequence is quite good not only in its level of action but because it is done in what seems like a very plausible manner, and director Taylor Hackford shows remarkable restraint here. (That is to say, there is no Glenn Close popping out of the bathtub.) Another scene with Terry and Alice talking as they smoke cigarettes outside is done particularly well, as is the scene with Terry and his son. The cinematography is excellent -- the landscapes and scenery are vivid and lush enough to truly put the viewer in South America. In the end, however, Proof of Life never really commits enough to anything to be anything special. It's worth seeing largely because of Crowe and a few choice scenes, but proceed with caution.


Recommended:
Yes