Argo

Overview

We really must stop being so surprised each time Ben Affleck does something good. Three grand directorial efforts in, and we still think of subpar rom-coms and tabloid relationships before we remember that the man actually won an Oscar for screenwriting at the age of 25. He's clearly observed each moment around the camera since Good Will Hunting, because everything he does as a director is interesting. He's a little like Clint Eastwood (minus the sting of Republicanism).

After Gone Baby Gone and The Town, Affleck's third film is Argo, a nail-biter based on the 2007 Wired article 'How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran', written after the details of the far-fetched espionage story became declassified. It happened during the 1979 Iranian Hostage Crisis, in which 52 Americans were held for 444 days by militants angry about the US giving shelter to their overthrown monarch, Mohammed Reza Shah Pahavi. At the time the embassy was breached, six diplomatic staff escaped and hid secretly at the Canadian ambassador's house, until CIA agent Tony Mendez (Affleck) could organise their exfiltration (or 'exfil', as its snappily referred to throughout) — yes, using the totally improbable cover of a sci-fi film called 'Argo'.

It's a fascinating study, but what's remarkable is that this largely bureaucratic process has been rendered so tense and so funny by the director and his team. It will put you closer to the edge of your seat than likely any other film this year. Most of the laughs come courtesy of John Goodman and Alan Arkin playing lauded make-up artist John Chambers and producer Lester Siegel, who come on board to make the fake film look real. Their dry, cynical banter about the ins and outs of Hollywood filmmaking are a down-to-earth intrusion into a fantastical turn of events.

After an impressive two hours, what turns out to be most impressive is the end credits, which place historical images alongside stills from the film so you can see the Mad Men-like attention to detail that has gone into re-creating this period in time. You can practically feel the polyester under your eyes throughout this Oscar contender, while the softly grainy texture of the film allows archival footage to be smoothly integrated.

It is a bit disappointing, then, that the historical accuracy turns out to be so patchy. The role of the CIA, as opposed to Canada, is exaggerated for effect, but what's perhaps more damning is the lengths the film goes to demonise and dehumanise the Iranian people just to heighten the feeling of threat (any one of them could attack!). Arguably, given its bank of suspense, Argo could have afforded to swap some tension for a little more understanding.

https://youtube.com/watch?v=QQkdOSwz2Kw