Well, I ain’t felt this way in a long time about a film, but it can’t be all feel good every time. Let’s look at the newly released Sicario.
Sicario is set in the continuing war between the US government and the Mexican drug cartels. This one battle features Kate Macer, an idealistic FBI agent who after launching a successful raid that ends bloody, is recruited into a special task force assigned to end a specific drug cartel that operates on both sides of the US-Mexico border. However as the case lengthens, Macer begins to realise that the border is the first of many lines crossed in this war. And the clearest sign of bypassed protocol comes in the form of a mysterious Mexican known only as Alejandro, otherwise known as ‘Sicario’, the Mexican term for hit man…
Fun Fact: The term ‘Sicario’ comes from the Latin word “Sicarius” which means “dagger man”, a term used by the ancient Romans to describe Jewish Zealots who would assassinate Roman citizens using a small dagger known as a “sicae” hidden in their cloaks. There were so many murders in the Province of Judea that the figure of Sicarius was used in Roman law: Lex Cornelia De Sicariis et Veneficis- Cornelian Law for Stabbers and Poisoners.
First of all, the strongest point to the film is how it is made, or more specifically how it is filmed. The camerawork is just phenomenal, perfectly immersing you in the world of the film and every event happening. The creativity is boundless: From sitting in the passenger seat of a car, looking around in a city where everyone is a potential threat, or seeing through thermal goggles, as someone looks at you and signs to you. You feel the urge to respond, or even duck for cover when the situation heats up. Also the way the camera moves, whether from the God’s eye view of a helicopter or from someone’s perspective, the movement and angle feel so genuine. Especially when they are riding through the city: Although the mutilated and hung corpses are the most horrifying thing seen, they are seen without detail or focus, as if they have just been noticed by someone’s eye. Now that I notice, most of the deaths are seen by proxy, whether at an angle, out of camera shot or behind filters. The horror is real, but muted, not given any embellishment or fake focus.
Fun fact: Cinematographer Roger Deakins got the inspiration for his unique camerawork from the photography of Alex Webb, in particular “Crossings: Photographs from the U.S.-Mexico Border”, which was published in 2003.
Acting wise, the two that I must say stand out to me is of course, Emily Blunt and Benicio Del Toro. Blunt’s character’s progress of deterioration is structured incredibly well, as you begin to notice the stress of the job make its mark on her in subtle but noticeable ways, from the increased consumption of cigarettes to practically how drained and battered she looks by the end. Of course, these are paltry compared to the crisis she suffers when challenged by how easily her by the book methods are not just stamped on, but also ineffective. In this regard, I think that Blunt fits perfectly into the performance: She is one of the few actresses I know that can change from tough action to raw emotion in the same film without seeming forced, and this role is no different.
Fun Fact: Originally Alejandro was supposed to have more lines in the film, however Del Toro said “The character explained his background several times to Kate. And that gave me information about who this guy was, but it felt a little stiff to have someone you just met 15 minutes ago suddenly telling you what happened to him and who he is.” So they cut 90% of Del Toro’s dialogue with director Villeneuve’s blessing. “Movies are about movement, character and presence, and Benicio had all that.”
But to me, I’d say the star of the show has to be Del Toro as Alejandro. That is all you know about him, and yet despite him barely talking, his presence just dominates every scene. It’s not his dialogue, more so his actions that define the brooding, undoubtedly dangerous person: The hooded, smouldering eyes, rumbling deep voice and the absolute professionalism that he brings to his work. As the film progresses, his story begins to unravel, and although shocking in its brutality, we can’t help but feel that it can’t have turned out any different. It is after all, a ‘land of wolves’.
If there was a criticism that I can bring into the film, its perhaps two things. First are the scenes which I can only say come from the ‘other side of the fence.’ To be honest, there are two few and far between each other to give much of an impression, and even how it ends feels…empty. Although I could find a countering explanation for it. The plot to Sicario doesn’t feel like an entire story in and of itself, as if a war has been won and everyone leaves victorious or defeated. It’s more like a chapter in the war against the cartels. Although this one has been resolved, the ending shows that another chapter will begin and the battle will continue, regardless of the lives lost or changed forever.
To finish, I would give Sicario a 9 out of 10. Not exactly on the lines of “best film I would never see again”, but a film that hits very hard. Well-crafted, well-acted and well produced, I highly recommend watching it, just be prepared to learn a lot of tough lessons on the way.
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