After brainy "Michael Clayton" and suffocating "Bourne", Tony Gilroy brings us something that has both intelligence (both meanings) and tension, but on a lighter scale, and top it with generous sprinkles of witty dialogue and glamorous sites. From the point of view of sheer enjoyment, "Duplicity" is tops. But then, I am still missing the most important point: this is a love story in a style that is reminiscent of the hay days of the 50s and 60s (think Cary Grant) – in other words, one classy romance.
The title "Duplicity" is well chosen. As the story unfolds, it keeps flipping back and forth between high flying industrial espionage and slow simmering love relationship. With successive flashbacks starting with "5 years ago in Dubai", the plot is spun in such an intriguing way that makes the audience believe that they are really smart in being able to follow. Those who have watched "Michael Clayton" may recognize this clever signature story-telling style of Director Gilroy. To his credit, he has succeeded in mesmerising the audience by making the story sound more complicated than it really is.
Simply told, it's starts in Dubai as one of those sex-first-love-later encounters between two special agents, FBI's Clare (Julia Roberts) and MI-6's Roy (Clive Owen), with ensuing globe-trotting during the next 5 years in glamorous cities such as Rome, London, Miami and others. Along the way, in between sessions in bed, the two also hatch a plot that begins with quitting their respective agencies and ends up in a grand coup to take advantage of a colossal feud between two top pharmaceutical corporations to steal a "formula of the century" and profit to the tune of 40 million dollars. There is of course a surprise final grand twist which is anything from surprising to even the average movie goer. Nor does the plot hold up under a microscopic logical examination. But all these flaws hardly matter. The beauty in the movie is in the rapport between Claire and Ray.
The protagonists are, by profession, trained to mistrust. This is underscored right form their very first encounter when she had him in a six-love set, so to speak. Their relationship is built on mistrust. But then, in attempting what they are setting out to do, they need to have a great deal of mutual trust. Therein lies fascinatingly intriguing drama. But that is only half of it. There is also the romance. The tantalizing question is whether it is used just a tool, or is there transient mutual attraction, or more? Or do they even know the answer themselves?
Roberts, just past 40, is getting into a new phase of her screen persona, looking more serious and pensive than she has ever been. But worry not – the radiant that her audiences know best does break out like a ray of sunshine from behind the clouds from time to time. Owens is right at home in his native elements. The two work together well. There is also an excellent cast of supports, some better known on television than on the big screen. But then, very well know, on the big screen, are Tom Wilkinson and Paul Giamatti. Much mention has already been made of the ingenious opening credit featuring these two locked in a slow-motioned, silence, mortal (figuratively speaking) combat. Don't be late. Don't miss it.
The title "Duplicity" is well chosen. As the story unfolds, it keeps flipping back and forth between high flying industrial espionage and slow simmering love relationship. With successive flashbacks starting with "5 years ago in Dubai", the plot is spun in such an intriguing way that makes the audience believe that they are really smart in being able to follow. Those who have watched "Michael Clayton" may recognize this clever signature story-telling style of Director Gilroy. To his credit, he has succeeded in mesmerising the audience by making the story sound more complicated than it really is.
Simply told, it's starts in Dubai as one of those sex-first-love-later encounters between two special agents, FBI's Clare (Julia Roberts) and MI-6's Roy (Clive Owen), with ensuing globe-trotting during the next 5 years in glamorous cities such as Rome, London, Miami and others. Along the way, in between sessions in bed, the two also hatch a plot that begins with quitting their respective agencies and ends up in a grand coup to take advantage of a colossal feud between two top pharmaceutical corporations to steal a "formula of the century" and profit to the tune of 40 million dollars. There is of course a surprise final grand twist which is anything from surprising to even the average movie goer. Nor does the plot hold up under a microscopic logical examination. But all these flaws hardly matter. The beauty in the movie is in the rapport between Claire and Ray.
The protagonists are, by profession, trained to mistrust. This is underscored right form their very first encounter when she had him in a six-love set, so to speak. Their relationship is built on mistrust. But then, in attempting what they are setting out to do, they need to have a great deal of mutual trust. Therein lies fascinatingly intriguing drama. But that is only half of it. There is also the romance. The tantalizing question is whether it is used just a tool, or is there transient mutual attraction, or more? Or do they even know the answer themselves?
Roberts, just past 40, is getting into a new phase of her screen persona, looking more serious and pensive than she has ever been. But worry not – the radiant that her audiences know best does break out like a ray of sunshine from behind the clouds from time to time. Owens is right at home in his native elements. The two work together well. There is also an excellent cast of supports, some better known on television than on the big screen. But then, very well know, on the big screen, are Tom Wilkinson and Paul Giamatti. Much mention has already been made of the ingenious opening credit featuring these two locked in a slow-motioned, silence, mortal (figuratively speaking) combat. Don't be late. Don't miss it.