The plot of this film is familiar. A professional assassin hits a psychological roadblock, and decides he wants out of the game. He informs his handlers that his next job will be his last. Unfortunately, it looks as though his change in attitude might put him in harm’s way.
I’ve seen several films that have used variations of this theme, and for the most part they were so unmemorable that I, well, can’t remember them. With George Clooney attached to this project, however, perhaps “The American” will be a cut above the norm. Let’s hope so. The “Ocean’s” franchise aside, Clooney generally has good taste in material. If nothing else, the film should have top tier production values.
Clooney’s company, Smokehouse (the outfit he formed when he and Steve Soderbergh dissolved their Section 8 production company), had a hand in the production, along with enough co-producers to fill a varsity football squad.
The film stars Clooney in the title role, and co-stars Thekla Reuten, Violante Placido and Paolo Bonacelli. It was directed by Anton Corbijn. It was shot on location in Italy last fall, which was probably an attraction for Clooney, as he lives part of the year in a villa on Lake Como.
From the Press Kit:
Alone among assassins, Jack (played by Mr. Clooney) is a master craftsman. When a job in Sweden ends more harshly than expected for this American abroad, he vows to his contact Larry (Bruce Altman of this fall’s Peter and Vandy) that his next assignment will be his last. Jack reports to the Italian countryside, where he holes up in a small town and relishes being away from death for a spell. The assignment, as specified by a Belgian woman, Mathilde (Thekla Reuten of Focus’ award-winning In Bruges), is in the offing as a weapon is constructed. Surprising himself, Jack seeks out the friendship of local priest Father Benedetto (Italian screen and stage veteran Paolo Bonacelli) and pursues romance with local woman Clara (Italian leading lady Violante Placido). But by stepping out of the shadows, Jack may be tempting fate.
– Focus Features