A mentally unstable Vietnam war veteran works as a nighttime taxi driver in New York City where the perceived decadence and sleaze feeds his urge to violently lash out, attempting to save a teenage prostitute in the process.
Robert De Niro,
The movie is based on the infamous "Stanford Prison Experiment" conducted in 1971. A makeshift prison is set up in a research lab, complete with cells, bars and surveillance cameras. For ... See full summary »
A ballet dancer wins the lead in "Swan Lake" and is perfect for the role of the delicate White Swan - Princess Odette - but slowly loses her mind as she becomes more and more like Odile, the Black Swan.
A veteran high school teacher befriends a younger art teacher, who is having an affair with one of her 15-year-old students. However, her intentions with this new "friend" also go well beyond platonic friendship.
A missile disappears in Iran, but the CIA has other problems: the heir to an Emirate gives an oil contract to China, cutting out a US company that promptly fires its immigrant workers and merges with a small firm that has landed a Kazakhstani oil contract. The Department of Justice suspects bribery, and the oil company's law firm finds a scapegoat. The CIA also needs one when its plot to kill the Emir-apparent fails. Agent Bob Barnes, the fall guy, sorts out the double cross. An American economist parlays the death of his son into a contract to advise the sheik the CIA wants dead. The jobless Pakistanis join a fundamentalist group. All roads start and end in the oil fields. Written by
Stephen Gaghan penned Traffic, which was the best film of 2000. Now with Syriana, he has developed a companion piece, with the oil industry as the backdrop rather than the drug trade. The irony of this is that the films show that both industries are corrupt to the core, but only one is legal.
In fact, by the evidence of these two films, one could argue that the drug trade is the less sleazy of the two because it does not exist with the facade of legitimacy that surrounds the oil industry. If I was to make a list of the 10 best films of the decade so far, these would both be there.
It is tough, if not impossible and perhaps even foolish to try and apply one thesis to this film, but for me, it is that what we as civilians call corruption is simply the culture of the oil business, one supported and nurtured by government, business, traders and lawyers. No-one knows why it exists, but it does, and if you cannot wade in it, you are out of the game.
Syriana does not have a plot or a storyline, but it throws character and story and information at you by the bucketful. There is no warm up time. Gaghan goes out of his way to show that the people involved in this business are surrounded by a normal world with normal hopes and dreams. This is evident from the opening shot. A title card tells us we are in Tehran, but not a some stereotypical open market selling figs. It is a hip hop club.
The main story of the film involves a possibly corrupt merger of two major American oil firms. From there, everything else fans out. THe story of Jeffrey Wright, the government official investigating the merger, George Clooney, the CIA operative with missions with no apparent goal, the Arab Emir from an unnamed oil producing country, and his two sons each wanting to take over his reign, the industry analyst (Matt Damon) who will use any situation to advance his firm, and the young, broke angry Arab youth who look for meaning in life and find it in the most dangerous way.
Syriana is not a left wing movie, it is surprising a-political. It is not anti-American, but it most certainly lays blame on the US and the west for putting oil ahead of all other priorities. It is not sympathetic to terror, but its most compelling plot line tell us how a terrorist can be made from a bad combination of hopelessness, unemployment, anger and poverty.
If you are looking for a neat and tidy ending, you will be frustrated. The film ends like a truck running into a brick wall, with all but one or two plots left hanging. It does not answer any questions because I believe that Gaghan is trying to show that no-one is really in charge and that no-one really knows what is going on.
The acting is near perfect from everyone in the cast, including a small, two scene brilliant cameo by William Hurt and Oscar worthy work from Clooney and Alexander Siddig as the frustrated Arab prince.
This is an important film and it is not to be missed. **** out of ****.
294 of 395 people found this review helpful.
Was this review helpful to you?