The Bourne Identity opened with a body suspended in the Mediterranean, motionlessly afloat, like an embryo in amniotic brine. The hallucinatory image, it turned out, was eerily appropriate. The body, we discovered, belonged to a man who’d lost his memory – put differently, he found himself birthed anew, with a newborn’s blank slate. And over the course of three movies, he grew up and gradually filled in the pieces. It may be no accident that the last film, The Bourne Ultimatum (even that title sounds so final), closed with this very image, of Jason Bourne adrift in water, as if he were returned to the womb. The cycle was complete. Like a creature from a myth, he rose from the sea, attended to his earthly calling, and returned to the sea. There’s a reason these stories are called archetypal. They’ve existed for centuries, and they’ve have been told over and over. And now, in The Bourne Legacy, the director Tony Gilroy (who co-wrote the Bourne trilogy) wants to draw from this template again. Nothing wrong with that.
Except, he literally tells the same story. (And unlike the Bond series, whose identical stories we’re just meant to snicker through, these films are freighted with existential gravity; we have to take them seriously). Save for a few minor tweaks, we could be watching the older films all over again, right from the opening image of – yes – a motionless body suspended in water. This time, the man on the run is named Aaron Cross (Jeremy Renner), and the harried innocent who keeps him company is Dr. Marta Shearing (Rachel Weisz). David Strathairn’s role of a ruthless establishment overlord is taken up by Edward Norton (in what has got to be the most thankless part of his career, requiring little more than barking urgent instructions to a bank of computer screens). And there’s the requisite action sequence unfolding in a grungily exotic locale (Manila, if you must know), where a bike is hot-wired, a police car stolen, and several rooftops clambered over – it’s hard to say if these are knowing winks to the first three Bourne movies or the cynical calculations of a filmmaker under pressure to deliver a global blockbuster.
Gilroy moves the story along well enough, and the stunts, even if familiar, are engaging. But Renner is a few sizes too small for these shoes. He has no dash, no sizzle. As an alternative, I propose Clive Owen, who, in The Bourne Identity, was the secret agent out to kill Jason Bourne. (He ended up killed instead.) We already learnt, there, what this film proffers as its big reveal, that there are multiple operatives on the loose, each one programmed in near-inhuman ways by the government. Instead of situating this story in the timeframe of the events of the third film, right about when the Guardian reporter doing an exposé on Bourne is killed in Waterloo station, Gilroy could have set it before the happenings in the first film – and with Owen, we would have hopped on to a vehicle driven by a star with presence, instead of a good actor with all the magnetism of a block of butter. (Did anyone buy him as that superhero with a quiverful of arrows in The Avengers?)
The other hurdle is Gilroy’s good taste, his refusal to resort to pulse-quickening melodrama. This high-mindedness was an asset in Michael Clayton – there was another story that had been told over and over, and yet, Gilroy’s hushed shepherding of the narrative suffused it with a revelatory charge. At times in The Bourne Legacy, this restraint is useful, as in the scene where Aaron Cross lies in bed, in a safe house of sorts, and sees the name of Jason Bourne carved out in the wood. It’s tacit acknowledgement that other unfortunates before him have trodden this path. But most of the time, we are led to believe that the material would have been better served by a hack with nimble instincts. In the film’s most chilling scene, a heretofore self-effacing character goes postal (he’s been programmed as well) – he becomes a Stepford zombie right out of a pulp-paranoia thriller, and we feel a frisson. Had this tone spilled over to the rest of the film, Gilroy could have reinvented the Bourne franchise, rebirthed it with a blank slate. Instead, he’s made a movie gambling on an audience’s amnesia.
An edited version of this piece can be found here.
Copyright ©2012 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Sahithi
August 11, 2012
Forget Bourne and Cross. When are you writing about Faizal and Definite?
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vijay
August 11, 2012
whats with Gaaliwood and the frequent franchise reboots these days?
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Arun
August 12, 2012
Spot on Rangan saar!
err…Bourne Legacy, 7am arivu #samefilm?
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KayKay
August 12, 2012
Watching it next week. I hope to God Paul Greengrass’ “headache-cam” approach to shooting action scenes has been jettisoned.
About Renner possessing no dash or sizzle, I’d have to evaluate for myself, but I like him. He was terrific in The Hurt Locker and The Town and it’s interesting that he’s carving out a career appearing in the tail-end of successful franchises like Mission Impossible and Bourne.
“We already learnt, there, what this film proffers as its big reveal, that there are multiple operatives on the loose, each one programmed in near-inhuman ways by the government”
This has pretty much been the trend for a long time now. Prequels that don’t exactly expand the mythology but merely extrapolate to movie-length what anyone paying attention in the earlier installments could have pieced together effortlessly.
By that logic I’d go so far as to say even The Bourne Ultimatum was a superfluous sequel, as well-made as it was. Watch The Bourne Supremacy again and see what a terrific sense of closure the movie ends on; Bourne comes to terms with his past, atones and moves on. Ultimatum completes the whole “Frankenstein confronts his maker arc” with Bourne heading back to Treadstone but it’s hardly required canon IMHO.
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brangan
August 12, 2012
Arun: LOL. Minus the “chems” funda. Made him sound like a junkie, no? Looking for a fix…
Kay Kay: I thought he was great in “The Hurt Locker.” (Thought it was a great film as well.) But haven’t seen “The Town.” And I agree about “Ultimatum.” I think its redundancy began to show when Bourne showed up in Paris to tell Marie’s brother that she was dead. It’s a superbly acted scene, but there was no need for another apology after that fantastic end portion in “Supremacy,” where he apologised to the daughter of his first victim. Yeah, we get it. He regrets it all. Now can we move on? 🙂 But it’s a good trilogy all the same, and I think Damon had a lot to do with it.
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Sriram
August 12, 2012
Happened to watch the movie last night at the cost of spending my precious time with my fiancee! I happened to doze off in the middle :D. And Arun rightly mentioned! I saw Dong-Lee in the climax action sequences. Yeah. 😀
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Aurora Vampiris
August 12, 2012
The pacing was entirely off, but I loved the bits with all the sci-fi exposition about the super-soldier nature of Cross.
And that long tracking shot of Cross sneaking into that house and getting that assassin – good God, that alone was a gazillion times better than any action sequence in a Greengrass film. But, at the end of the day, I guess you’re right. It was the same bloody story.
That said, I generally prefer Renner to Damon. While I wasn’t quite on-board with Hawkeye in The Avengers, I was really in tune with his Brandt in MI:4 – Ghost Protocol. And he was absolutely brilliant in Hurt Locker. I think he makes a great co-star… for now. As for leading man material, I don’t know – was Matt Damon a charismatic leading man from the get-go? Did you ever think the “Ocean’s Eleven” actor would make it into an action franchise?
I was just surprised Gilroy’s pacing was off – he seemed pretty competent as the screenplay writer for ALL three of the previous Bourne films.
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vijay
August 12, 2012
“I thought he was great in “The Hurt Locker.” (Thought it was a great film as well.)”
You could end up changing your opinion on that film in a few years. One of the most overrated films of the last decade.
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Shankar
August 13, 2012
I just can’t seem to muster any enthu to go watch this film. I did love Paul Greengrass’s headache-cam coupled with the superlative background score. Also, as I have mentioned earlier in the comments of another article, the original series was done with a minimum of CGI work and that’s what made the action sequences so real and dear….I appreciated the fact that these guys went the extra distance to film this traditionally. And seeing Matt in this role was a surprise….unexpected but a good surprise and I thought he pulled it off really well. The trilogy was as good as it gets…in my opinion, the 4th was unnecessary. I’ve had that feeling a lot lately…watching the new Spidey and the Bat as well!!
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Shankar
August 13, 2012
And I do have a soft corner for Matt Damon (even for Mark Walberg as well)…hard to explain why, but I guess it’s a little bit of the “Us vs. Them” syndrome. You’ll understand it if you happen to live in these parts…
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rameshram
August 14, 2012
Its a sweet film. it’s like mission impossible without tom cruise or the OTT elements and capers.
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rameshram
August 14, 2012
this one looks amazing.
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rameshram
August 15, 2012
RIP ashok mehta.
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Shankar
September 3, 2012
Now that I’ve seen this, I can say it didn’t work at all for me. As noted previously, the pacing was completely off. The movie felt like deja-vu with another trained operative coming after Cross etc….
Also, I dearly missed the background score of the original movies…that was so high energy. Jeremy Renner looks like a poor man’s Daniel Craig.
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