PROOF OF LIFE
US, 2000, 135 minutes, Colour.
Meg Ryan, Russell Crowe, David Morse, Pamela Reed, David Caruso, Anthony Heald, Gottfried John, Alun Armstrong, Michael Kitchen, Margo Martindale.
Directed by Taylor Hackford.
A film straight out of today's headlines: the taking of hostages by revolutionary groups in South America and the kidnapping of foreign engineers working on projects like dams and roads. The film's dialogue reminds us that many of these groups, both patriotic and terrorist, relied on Russian financial and arms funding but, after the collapse of the Soviet empire, they found that kidnap ransoms brought in more money.
The plot is very much like that of many 'airport' novels: entertaining and page-turning, larger than life action in topical modern crises. In fact, one of Dick Francis's thrillers, "The Danger", was an exciting look at kidnapping. He had obviously researched in some detail how international companies, usually linked with insurance firms, employ former army, police and retirees from such forces as the SAS and send them to hotspots around the world. He also included vivid chapters showing how negotiators work, using a blend of psychology, bargaining and bluff while trying to reassure and calm distraught families. Proof of Life is based on a well-researched article in Vanity Fair by William Prochnau, based on interviews with American kidnap victims.
Proof of Life has plenty of action in exotic settings. There is a prologue where a star negotiator (Russell Crowe playing an Australian ex-SAS officer) reporting on a successful, though very dangerous rescue in Chechnya. However, the main action of the film is in a fictitious Andean republic where an engineer (David Morse, who has a tough time in the film playing an American held by kidnappers for over four months) and his wife (Meg Ryan in a serious role) are trying to contribute to local development. He is being manipulated by an oil company. She is still trying to come to terms with a miscarriage. When the investigating company learns that the oil company has economised by not paying insurance premiums, they pull out. However, Crowe, a strong and silent type with a conscience, goes back to handle the process - which is not an overnight job but relies on intuition and luck.
The film was mainly shot in Ecuador and uses the mountain locations to full advantage, even through the final credits, as well as using the streets and squares of Quito to add an atmosphere of realism. The kidnapping sequence (an ambush at a roadblock) is alarmingly convincing. So, too, are scenes of trekking across mountains and of the kidnappers' camps. The writing and acting give audiences a better than average appreciation of the characters and their response to the crisis: the upset and angry wife, the gratingly bossy sister, the strong and silent negotiator.
Finally, as you would expect in any ransom film, there is a quickpaced rescue which is done with army precision but also with a great deal of bloodshed. This also is the reality of violent groups in the ransom business.
1.A satisfying blend of action and human drama?
2.The Ecuador settings, the atmosphere of Latin America? The City? The countryside, mountains and waterfalls? Authentic atmosphere? The musical score?
3.The prologue in Chechnya? Setting the tone for action? Establishing Terry Thorne’s character? The action, the rescue, the dangers, skills required? SAS? The achievement? The company and the assessment of the operation?
4.Russell Crowe as Terry Thorne, strong screen presence, authoritative? In action? In the discussions with the board? His explanations, clarity? The scene with his son, the formality of the farewell – and his later explanation of his relationship to his son to Alice? The explanation of the break-up of his marriage? His going to Latin America? His assured presence, meeting Dino, Wyatt and his other friends? The advice for Alice? Explaining the way it was played? The interactions with Alice? With the others? The intrusion of Janis? His doing his job, being taken from the job, leaving? The clash with Alice? Back in London, his decision to return to Latin America?
5.Establishing the relationship between Alice and Peter, their history, marriage, pregnancy, failed pregnancy, Africa? Tensions and blame? Their place in society? The phone discussion, shopping, her reaction to the formalities of the dinner? His being upset? The job, the dam, his not being involved with the oil company? The dam and the effect on the cocaine crops? Houston, the high officials, change of policy, Ted Felner and his phoning Alice? No insurance?
6.The drama of the ambush, Peter being taken, his reactions, the terrorists, the guns, the swift movement? The details of his treatment, rough treatment but keeping him alive? Slashing his foot, the photo, the proof of life? Physically abused, verbally abused? His ability to cope? His defiance, his isolation? The young rebel and his confrontation? The shooting and his standing his ground? His defiance of the young man? His trying to get the locals to help? Their dependence on the rebels? The need for money? The priest, his background in the Foreign Legion, their talk, engineering the escape, Peter being taken again?
7.Terry Thorne, the deal with the locals and his stopping it, accusing them of potential robbing of the money? His plan, the phone, Dino and his help with the phone? Alice and her concern? Janis and her anxiety? The amounts of money, the collection? The locals? The receiving of the proof of life, examining the photo, the calculations about the weather, the information about Marco from the maid, his confronting him at the sports event? The pressure on Marco?
8.Dino and Wyatt, types, tough, the camaraderie, the excitement of the jobs, advice? Collaboration?
9.Alice, the effect of the abduction on her, the clash with Terry, his return? Her being forced to examine her life, explaining it to Terry, listening to his story? The attraction? How to handle this? Janis, her interfering, sending her to America to collect the money, her return?
10.Janis, as a character, protective of her younger brother, intruding, domineering?
11.The priest, the background of the Foreign Legion, the bible and the map, his friendship, the escape, his being injured, giving the information to Terry?
12.The decision to go in, the staging of the battle, the fights, the dangers, the risks, Terry and his rescuing Peter? The reunion?
13.The action sequences blending with the drama? The predominance of abductions in Latin America, the past and the demands for money, the stopping of support from the Soviet Union, the need for financial transactions to help the rebels, anti-government stances, the cocoa crops?
