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This one grabbed my attention when I read about it in the Current York Times last month. The article made it sound like it might rival Hitchcock’s Strangers on a Whine or Agatha Christie’s Assassinate on the Orient Command. Well it doesn’t. Not even stop. Granted it does feature exotic Transsiberian locales from Beijing to Moscow, a squawk scramble burly of mystery and suspense, and the work of a station of respectable actors. Unfortunately, everything that is gorgeous about this film is derailed by a script that takes one too many unlikely station turns. So, instead of getting a suspense filled Strangers on a Issue or an elegantly paced Kill on the Orient Enlighten, we rep unprejudiced another Hostel or Turistas.
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In the beginning there is the thrill that one is about to embark on an exotic scramble into an location for the most share uncharted by Hollywood (Siberia), and the film does articulate a few glimpses of China and Russia that entice the witness. And, at first anyway, the characters and their relationships are intelligent enough to grab and enjoy our attention. Woody Harrelson is always reliable and here he delivers a fairly convincing performance as “Roy”, a christian volunteer doing work with needy children in China. Roy is the typical bleary-eyed American optimist blissfully unaware of his fill naivete. The fact that he wears Woodrow Wilson styled bifocals nicely underscores his dinky vision of the world. This isn’t Oscar stuff by any stretch but naivete is Woody’s forte and since this character truly is caring and compassionate and sees only the best in other people he’s actually quite likable. Since everyone else in this film is slightly jaded and gaurded and hiding a sketchy past, Roy’s optimism and openness and childlike enthusiasm for trains is actually quite refreshing. His openness is at times an asset (he is a people magnet), at other times a liability (his naivete and over-the-top Americanness acquire him an easy target at home and abroad) .
Accompanying Roy on this volunteer trek to China is his wife Jessie (played by the immensely talented and infinitely watchable Emily Mortimer whose previous film appearances include: Match Point, Lars and the Dependable Girl & Glowing and Fabulous) . Jessie is an exclusive match for Roy. She has experienced more of the world than he has and her adventurous, and perhaps gloomy, past is something that she keeps to herself. That is until Roy and Jessie board the Transsiberian Remark and meet fellow travelers Carlos (Eduardo Noriega, best known for his work in the Spanish film Begin Your Eyes) and Abby (Kate Mara) . Carlos and Abby are seasoned travelers who behold like they have seen a lot of the world, and not fair the stuff that’s in the Lonely Planet proceed guide. Though well traveled, they are younger than Roy and Jessie and smooth chunky of wanderlust for the world and each other. Being around them reawakens Jessie’s gain peaceful simmering wanderlust. Reckless and impulsive Carlos awakens her sense of concern and her sensuality (which have remained for the most section dormant during her time with Roy) ; and unrooted and unsafe Abby reminds her of her believe younger and riskier, and as yet unmapped, self. Abby represents that side of herself that Jessie misses but also fears so she feels threatened by but also protective of Abby who is traveling down a lot of the same paths and traveling down them for many of the same reasons that Jessie formerly did. Abby’s attraction to Carlos reminds Jessie of her possess attractions to such men when she was that age and therefore she has conflicting feelings for Carlos: her younger self wants him, her older self wants him out of the represent. The fact that Jessie has a past and an concept of many different types of existence makes her an generous observer of human nature and as a result she takes astonishing pictures. But this avocation, like her relationship with Roy, is also a expedient one. It allows her to indulge her interest in the disordered variety of life that she is attracted to but also to fill a responsible and gracious distance from that world. However, her pictures also provide clues to an undeniable truth about Jessie. In the most memorable scene of the film a detective handles her camera and begins to scan through her photos while she nervously watches vivid the inequity between culpability and liberty is only one delete button away. Mortimer does an exceptional job with the role. This character is chunky of surprises, including self-surprise, every step of the map.
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The film could have worked well had it confined itself to developing the personal histories and tracing the evolving relationship dynamics and life trajectories of these four characters as they go together in halt quarters on an exotic squawk passing through one snowy Siberian locale after another. Instead, the film decides to bewitch a different route and heads off into the usual Hollywood thriller terrain: drug smuggling, torture, assassinate, trainjacking & smashing etc… In other words, at about the halfway point, the film foregoes character ogle (and subtlety), and becomes your usual lurid, predictable, and forgettable summer flick.
I saw this movie in Los Angeles and was plesently surprised. This movie had me glued to my seat until the credits rolled. Anderson clearly has created a mystery masterpiece telling the sage of a clueless couple, Woody Harrelson and Emily Mortimer, stuck on a substandard country convey plug through the grim backdrop of a post-soviet Russia. The two are caught in a whirlwind of drug-smuggling, torture and bent cops. I haven’t been this impressed with a movie for a long time and can’t wait to hold this sucker on DVD disc!
