THE HITMAN’S BODYGUARD

US, 2017, 118 minutes, Colour.
Ryan Reynolds, Samuel L. Jackson, Salma Hayak, Elodie Yung, Gary Oldman, Richard E.Grant, Joaquim de Almeida.
Directed by Patrick Hughes.

It would have to be a very strong candidate for the adrenaline-pumping action film of the year. As might be expected from the title, there is a fair amount of violence but most of it is quite tongue-in- cheek – and the tongue-in-cheekiness extends to a lot of ironic humour, deadpan remarks, and the use of popular songs to counterpoint the action.

In fact, the title even sounds tongue-in-cheek. Why would a hitman need a bodyguard?

It takes a little time before there is an answer to this question. The film opens with a rather James Bond-like introduction, cars through London, helicopter over London, a respectful scene at an airport with a sudden assassination. This is the realm of the bodyguard, Michael (Ryan Reynolds). With the assassination of his client happening right in front of him, Michael is demoted, fired and has to go into private enterprise. To keep the humorous flavour, there is an interlude where Michael, looking rather dishevelled – although he usually operates in a suit and tie – has to escort the panicky businessman, Richard E. Grant, from a building from which he has eliminated all the shooters.

There are also some sequences early in the film with the president of Belarus, Gary Oldman at his most sinister and savage (interesting that they chose the president of Belarus who, for a long time, has exercised rather despotic power in this country). The president interrogates a rebel professor and murders his children. We see that later he is on trial at the International Court in the Hague.

Then, at last, the appearance of the hitman. He is played with considerable zest by Samuel L. Jackson, who is being called by Interpol as a witness against the president of Belarus and has to be transported from Manchester to the Hague via Amsterdam.

Incidentally, the variety of European locations, especially the cities, offers many an opportunity for audiences to enjoy the touristic aspects of the cities – and, especially towards the end, the most elaborate chase through the streets and canals of Amsterdam and then through the streets of The Hague. They are very adrenaline-pumping!

Needless to say, the Belarus president has his contacts, thugs roaming England and the Netherlands, and a traitor within Interpol who is revealed almost immediately so that we can see his machinations, the ambush to kill the hitman, continually tracking him throughout the countryside, with lots of shootouts and explosions.

Actually, the film plays like a variation on the odd couple, the hitman, Darius, not worried about rules, regulations, not waiting for Michael to do his planning, consider the logical best, require the wearing of seatbelt… And they have arguments along these lines, working off each other, and Darius obviously enjoying himself, singing at various times, including getting a lift in a van full of singing nuns!
And there is romance. There are quite number of flashbacks explaining Darius and Michael, especially their stories of falling in love. Darius has married Sonia, Salma Hayek, who worked in a Mexico City bar, more than tough, fighting recalcitrant customers – and all of this shown with Lionel Richie singing romantically in the background. There is a similar treatment of Michael falling in love with the French Interpol officer, Amelia (Elodie Yung).

There is split-second timing at the end, loads of gunmen trying to prevent Michael and Darius getting to the court, the defence counsel telling the judge that the time had passed but, with only a few seconds to spare, Michael and Darius arrive.

Actually the film doesn’t end there, there is a whole lot more action including a helicopter and explosions.

One hopes that the writers will think up a nicely complex plot, some funny as well as serious situations and good lines for the sequel. It could be The Bodyguard’s Hitman, but, in fact, ironically, this is the climax of the film.

Yes, it has touches of the violent, and Salma Hayek and Samuel L. Jackson exploit what a prim American friend referred to as “cuss language�. So, perhaps something of a guilty pleasure.

1. An entertaining film? Comic touches? Serious touches? An adrenaline-pumper?

2. The European settings, touristic views, immersing the audiences in the cities: London, Manchester, Coventry, The Hague, Amsterdam? The Belarus settings?

3. The musical score, the range of songs, the comic insertion, especially for the two falling in love sequences, for the action?

4. The title, expectations?

5. James Bond style introduction, London, the cars, the helicopter, the vistas? The airport, Michael and his waiting, the guards, the farewell to the Japanese arms dealer, his being shot? Michael standing mesmerised? His interpretation of what happened, blaming Amelia? The break the relationship? The later revelation? Darius taking the opportunity and killing the Japanese?

6. Two years later, Michael demoted, his explanation of how high he had reached? The comedy with the businessman, in his office, his panic, going to the other car, the explosion, the flashbacks showing Michael demolishing all the intruders?

7. Belarus, the president and his attitude, personality, the confrontation with the professor, the Revolution? The interview, bringing in the family, killing them? His character, war criminal, going to the Hague, waiting for his trial, the role of Interpol?

8. Samuel L. Jackson as Darius, personality, character, his age, his style, joking, singing, genial, yet psychopathic behaviour? The number of contracts, the number of kills? The flashback to his father, the Minister, the assassination, the funeral, and the boy killing his father’s murderer?

9. The story of Sonia, the flashback, the bar, her fighting, the love song, Lionel Richie, marrying her, conflicts, in jail, wanting to free her, the deal with Interpol? The phone call, their arguments, her swearing, love? Supplying the tulips at the clock?

10. Darius as a witness against the president, in custody, Interpol wanting to transfer him from England to the Hague? The personnel, Amelia, her boss, the official and his betrayal, wanting the money from the president, the president stabbing his hand, keeping him waiting for the money? In the truck, Darius, the mocking touches, the ambush on the streets, the number of deaths? The two men escaping, phoning Amelia? Michael and his being tense (and the later flashback describing his meeting with Amelia, her being undercover, the criminal, the crash, falling in love?) The break, his talking about forgiveness, her saying she had nothing to be forgiven for?

11. Amelia calling Michael, the past history, his attitude, finally agreeing, coming to Coventry, his mission?

12. Darius and Michael as an odd couple? Darius, no rules, Michael and his orderliness, suit and tie, plans, seat belts, his skills, guns – but Darius doing everything initially, impulsively, immediately?

13. Refuge in the building, the thugs entering, the ambush, the shootings, Darius jumping from the roof, Michael climbing down, taking the car, the drive and their arguments, stopping, changing cars, Darius with phone implant, tracing him, the siege in the countryside, shootings, explosions? Walking through the fields, the cows? Getting the lift, the nuns and singing? The ferry to Amsterdam?

14. Michael, his Amsterdam hideout, the pictures of Amelia? Darius tricking him, the shower, getting out, buying flowers, his being followed, Michael killing the pursuers? The flowers at the clock?

15. The excitement of the chase through Amsterdam, cars, canals and boats? The cumulative effect with the chase through the Hague?

16. The court, waiting, the prosecutor and the defence counsel? The president, his phone calls and the contacts? The treasure from Interpol and his presence?

17. Michael, contact with Amelia, attempted reconciliation? His being in a daze? Darius and his getting him to the Hague? The final difficulties, cars, shootings? The police bringing them in? A few seconds to go?

18. The alternate plan, the helicopter, the explosions, the president escaping, the pursuit through the corridors, to the roof? Darius in pursuit? Michael, the president and his threats? Darius and confrontation, the president on the roof, the hitman being the bodyguard and defender of the bodyguard? The president’s death?

19. The aftermath, Darius in prison, Sonia free? Darius’s escape, their dancing in Mexico? And Michael and Amelia together?