No Way Out is a stunning film, aurally, visually, as shown by this publicity photograph above, and the plot is quite mesmerising. The film's storyline is loosely based on the 1948s original - The Big Clock, however the events have been updated to reflect the political climate in American at the time of shooting; a brief ascension in cold war tensions, and also reflects the modernised mode of warfare; the interface of technology.
Sean Young, Blade Runner (Susan Atwell in the film) compliments the films desaturated late 80s/90s glow so beautifully. Her playful attitude is almost sparkly like champagne or jewellery. It is therefore appropriate that both main characters, Tom Farrell, and US Secretary of Defence David Brice value Susan as a stylish and very necessary accessory. Yet, it is Farrell, who meet Susan at an inaugural ball, and falls for her glittering allure. There begins one of the films storylines, a romance which is youthful and free, as the two characters drive in open top cars and sail in expensive yachts. Tom Farrell (Kevin Kostner) is beautifully laid back and happy when he is with Susan, again shown by the photo above, with Kostner - hands in pocket and a coy smile. This is why the mysterious events which follow have so much tension, as they contrast such a blissful start to a film. (Regardless of the ambiguous starting 5 minutes whereby the premise of the movie is set - secret organisations and spies).
The freedom that exists in Farrell's life is suddenly throttled as he moves into a position under the direction of the mysterious duo of David Brice (Gene Hackman) and Scott Pritchard (Will Patton). It is worrying to see the power of the US army, therefore the 'guardians of the free world', sitting and scheming in an expensive cafe, residing like Gods above hallowed diplomatic ground of Washington DC. Yes, as protectors of democracy it is beguiling to see such drama being so insular, with scandals able to be closeted, and bypass regulated organisations such as the FBI. The white suits of the US navy are interesting costumes as they keep the audience reminded that Farrell has seemingly full allegiance to the US. This allegiance is important when weeding out a mole - a Russian spy - who lurks around the Pentagon. There is an indistinction at times whether this 'Yuri' a computer virus, a secret file or is an actual person; a double agent. One of the most terrifying concepts in times of war, a double agent can infiltrate anywhere and the knowledge of a mole raises the claustrophobic atmosphere of mistrust to levels of suffocation. Speaking on computers, one of the other very interesting concepts from the point of view of a 21st century viewer is that the slowness of the computers is almost farsical compared to today, however the fact that most of the investigatory department are so rapt with their ability despite the length and ardous nature of procedure, that the audience becomes equally excited as well.
As a thriller No Way Out is certainly thrilling, yet at times slightly too obvious however this doesn't detract from the other beauties of the film - the visual juxtaposition between the outside American and the insular world of the pentagon. Chases, that compliment the plot, and the searching of the building by witnesses highlight this feeling. The sharp corporate suits and naval uniform glare in the North American daylight. Atmospheres are important as they act as a curtain to cloud the audience in the uncomfortable feeling of not knowing, and consequently being totally unaware of upcoming twists. Hitchcock mastered this and now his technique has shown to be very influential and successful. The music almost sounds Hitchcockian, with uneasy harmonies, and creeping melodies. It would not be anything if it were not composed in the infamous 1980s fashion, using heavy synths and percussion pads.
80s beauty
I didn't expect this film to be so good
*****
