“Based on a true story” can mean many different things. When
you use “based on a true story”, there’s a reason: you’re not being 100%
accurate. Argo is not a 100% accurate portrayal of the exfiltration of
six American diplomats from Tehran, Iran. There are dramatic liberties taken,
and the events are seen from a perspective that places more import on the CIA
(particularly Ben Affleck’s character Tony Mendez). That’s not to say the film
is inaccurate, because it absolutely is not inaccurate. These events happened,
and they are the kind of events that make you want to work for the CIA.
Honestly, I came out of this movie ready to sign up (as if they would take me).
All I’m saying, though, is that there is a reason these events are widely
referred to as the “Canadian Caper”; Canada had a hell of a lot to do with what
went down, and their role is fairly minimized in Argo; that’s mainly for
dramatic reasons, and I think it helps the movie. (The film does include the
actual source of the “Argo” name for the fake film, although it has been
repurposed into a running joke throughout the movie.)
On November 4, 1979, militants stormed and took over the
American embassy in Tehran, Iran. If you know anything about American history,
you should at least be aware of “The Iran Hostage Crisis”; 52 Americans were
held hostage for 444 days. It was kind of a big deal. Anyway, on November 4,
1979, when those militants stormed the embassy, there were six Americans who
were able to escape into the streets of Tehran. Those six Americans eventually
found themselves in the home of Ken Taylor, the Canadian ambassador to Iran.
What’s not in the film is that a Canadian immigration officer named John
Sheardown was instrumental in introducing the six American diplomats to Ken
Taylor. Anyway, Argo starts with this and shows what went into the
exfiltration of these six Americans, including the creation of the fake “Argo”
film.
There is so much to like about this movie. It begins with
the amazing, mostly-true adaptation of the Canadian Caper, but it doesn’t even
come close to stopping with that. Obviously, this movie is a period piece set
in 1979-1980, and it feels every bit like it. When you watch this movie, you
will feel like you’ve been transported thirty years into the past (or more,
depending when you watch it). Do you want to know what the CIA was like in
1979? It’s here! For example: there’s almost no security to go through when you
come in the building. Want to know what Hollywood was like in 1979? Sure thing!
The famous “Hollywood” sign is shown in its infamously deteriorated state.
Granted, by 1979, the previous “Hollywoodland” sign had already been through
its worst state and been restored in 1978, but it’s still a snapshot of the
state of Hollywood in the 1970s. Want to smoke on an airplane? Go ahead! It’s
1979! Want to see what Iran looked like in 1979? Well, you could probably just
go there, now, to see that; that’s kind of how things go in Iran; Still,
though, the turmoil caused by the Iranian Revolution of 1979 is right there on
the screen. Many of the things shown to have happened in Iran are things taken
from actual footage of what did happen in Iran. To me, Argo perfectly
captures the world within which it takes place.
Say what you will about Ben Affleck: he’s acted in some
not-so-great movies, and he’s acted in some very good movies; which ones are
which is up for a debate that I’m not interested in having here. What no sane
person will argue, though, is that Affleck is a hell of a director. You can’t
say he isn’t. If you say he isn’t, you’re wrong, and you lose all credibility. Gone
Baby Gone and The Town are excellent films, and you can go right
ahead and add Argo beside them. What Argo does, though, is
demonstrate that Affleck isn’t just a “Boston movie” director. He doesn‘t only
direct that movie; like with The Town, Affleck also stars in Argo
as Tony Mendez, the film’s lead character and the guy who comes up with the
“best bad idea we have” to fake a movie to rescue the diplomats. Affleck’s
Mendez is separated from his wife, so it’s safe to assume he’s been focusing
more on his work life than his home life. He also has a son, and Affleck plays
the role of an estranged father so well here; when he speaks to his son on the
phone, it’s played with such an uncomfortable melancholy. He doesn’t want to do
this; it’s not because he doesn’t want to speak to his son but because he wants
to be with his son when speaking to him. The role is really molded to
fit Affleck, and I guess that’s one of the perks of directing yourself.
The supporting cast includes Bryan Cranston, Mendez’s
supervisor. He and Affleck have a great, comedic rapport, but the character is
absolutely solidified, in a key scene that is decidedly not
comedic. John Goodman plays John Chambers, a Hollywood make-up artist who Mendez
goes to for help faking the movie. Goodman is always great. Always. But
he’s fantastic here, with the bulk of his scenes coming alongside Alan Arkin,
who plays a Hollywood producer. Their scenes are hilarious. Lastly, I’ll
mention Victor Garber, who plays the infinitely important role of Ken Taylor.
Garber captures the dignity of the role really well. Ken Taylor committed
himself to helping these six American diplomats, and he knew exactly what that
could mean if the wrong people found out.
Honestly, everything about this movie is good. Like I said,
I came out of the theater ready to join the CIA; I also came out liking this
movie. Ever since seeing it, the more I think about it, it’s only gotten better
in my mind. Seriously, I have zero complaints about Argo. If you happen
to disagree, that’s fine. I only have one suggestion: Ar… Go fuck
yourself!
-John
