"Interview," starring, directed and co-written by Steve Buscemi has an interesting story behind it. The project is actually a remake of a 2003 movie of the same name, directed by the late Dutch filmmaker Theo van Gogh. In 2004, the controversial figure was on his way to work when he was murdered by an Islamic extremist.
Despite being tragically cut down in his prime, van Gogh's admirers have only increased in the past three years. Following van Gogh's death, his producers decided to take on an ambitious undertaking: have three of van Gogh's movies each remade by an American director.
Buscemi's "Interview" is the first of these three movies; the next two are to be directed by John Turturro and Stanley Tucci. If Buscemi's effort is any indication, we have two more fine movies to look forward to.
I've been anticipating the release of "Interview" for months - Buscemi is one of the most talented, funny and downright brilliant character actors around, and the prospect of him directing himself behind the camera is always an exciting one. He has proven himself as skilled and versatile behind the camera as he is in front, from crafting the honest "Trees Lounge" to even earning a guest director's spot on "The Sopranos."
With such personal anticipation leading up to the new film, it's a pleasure to discover that "Interview" is one of the most intelligent and challenging character studies in recent memory.
The setup of the movie is as simple as its title: Buscemi is Pierre Peders, an experienced journalist and war correspondent who wants nothing more than to be in Washington, covering a recent political scandal. Unfortunately for Pierre, he has walked on journalistic thin ice one too many times for his editor, and is punished by getting assigned to interview recent soap star and flavor of the week Katya, played by a sharp Sienna Miller.
At a brisk running time of 80 minutes, the film simply follows Pierre and Katya throughout their evening together, starting at a restaurant followed by further conversation at Katya's huge apartment. Do not be dissuaded by the prospect of watching two people talk for an hour and a half - Buscemi and Miller are dynamite in their respective roles.
The film plays out like some twisted game of chess between its two leads. Pierre is bored and condescending to the tabloid-fodder life that Katya leads, but she possesses much more depth than one would first suspect. These two people - miles apart in personality and lifestyle - find an initially run-of-the-mill interview transform into a drunken and soul-bleeding session of confession, comfort and betrayal.
As a director, Buscemi shows a respectable amount of patience and reserve behind his camera. He lets his characters' interactions flow naturally, allowing the dialogue to push the action forward.
He does, however, understand the way to tell a story visually; one standout sequence involves Buscemi and Miller dancing in the middle of her flat, finding the strangest and most unexpected of connections. Buscemi achieves cinematic heaven in this sequence, permitting his camera to closely follow the dancing leads every step of the way. It is a fantastic few moments - the best of the film.
Perhaps the most impressive feat of "Interview" is just how well it works on multiple levels. As a character study and vessel for Buscemi and Miller to give some of their best acting to date, "Interview" succeeds. As a probing study of the ethics of journalism and critique of media profiling, "Interview" succeeds and then some.
"Interview" may have the look and simplicity of the small movie, but the power of its two central performances elevates it to a great one.
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