The 1990s were a tough time for the spy thriller. The rebirth of the Bond franchise with Goldeneye soon began to lose its momentum, with both Tomorrow Never Dies and The World Is Not Enough returning the series to well-worn convention. The mainstream success of parodies like Austin… More
The 1990s were a tough time for the spy thriller. The rebirth of the Bond franchise with Goldeneye soon began to lose its momentum, with both Tomorrow Never Dies and The World Is Not Enough returning the series to well-worn convention. The mainstream success of parodies like Austin Powers and I Spy saw the genre's conventions exposed and widely mocked. And then there was Die Another Day, a clunking greatest hits compilation which lurched between self-parody and in-jokes via rubbish CGI.
In the same year that Pierce Brosnan hung up his tux, The Bourne Identity came along and showed the way forward for a genre which many had written off. Although not as radical, or modern, or insightful as its sequels, Identity is a really great thriller on its own terms, combining a great central performance from Matt Damon with an inventive and exciting story, all of which makes for a really riveting ride.
To the seasoned spy fan, several elements of The Bourne Identity will appear old-fashioned. While Paul Greengrass used the characters as a starting point to explore the changing nature of surveillance, Doug Liman is largely faithful to Robert Ludlum's source novel, which was written in the 1980s. This might help to explain why the office charged with tracking Bourne uses clunky grey desktops and map pins, rather than slim laptops and interactive touch-screens.
The old-fashioned sensibility runs deeper than a design level. The intelligence services that are tracking Bourne are presented as something undeniably monolithic, something which has a free reign over its operations and which is impregnable to the casual eye. The antagonists' character traits are clearly drawn, and there is much less in-fighting than we might expect, either between different agents or between the agency and the government. Despite this simplicity, the film generally avoids tipping over into caricature, and when it does become exaggerated, it is played for light, knowing relief.
Where The Bourne Identity is definitely not old-fashioned is in its treatment of the central character. Previous spy thrillers have played heavily on the charisma and overt heroism of its protagonists, whether in their good looks, intelligence or gruff charm. Over time such characters became pastiches of themselves and much of the substance deserted them; Bond started out as a chain-smoking, rebellious anti-hero and ended up as an impossibly talented stereotype with a penchant for eyebrow-raising.
Jason Bourne does not risk becoming like Bond, because he lacks the crucial thing which Bond has: an identity, and the self-confidence which goes with it. Bourne has all the inbuilt training and skills of Bond, but his humanity has been compromised to such an extent that he cannot explain or justify his actions. After he beats up the German policemen on the park bench, he stands there bemused because he doesn't know his own strength.
This clever inversion of a genre convention allows the film to explore a darker kind of antagonist: not pantomime villains stroking cats, but the intelligence services themselves. The film looks at the despair and loneliness which follow a secret agent around, exemplified by the conversation between Damon and Clive Owen as the latter is dying of his wounds. It humanises the protagonists, showing the level of sacrifice they have made, and the extent to which higher powers have exploited and manipulated their desire to serve their countries. Despite being very difficult to defeat, Bourne comes across as someone who is emotionally helpless and believably vulnerable. We identify with him because he is like us enough that we understand his predicament, and his actions never seem gratuitous or fantastical.
The secret of all great thrillers is pace: they need to be slow enough to allow all the character development and plot to be absorbed, but fast enough to increase the tension and gloss over any aspect of the plot which is contrived. It doesn't matter if we question the workings of something after the film is over, because as long as we believe it when it is playing out, the film is doing its job.
On these grounds The Bourne Identity is very good indeed. It begins brilliantly, throwing us straight into the action and introducing our main character without any kind of showy pre-title sequence. The plot twists, like the scene of Damon finding all the other passports in the safe deposit box, keep the audience on edge and get us thinking in the mindset of the character. There are a lot more first-person shots in Identity than in the Greengrass films, which give the film a sense of intimacy even during the action sequences.
There is a good comparison between this film and Into the Night, since both are about characters being thrown into a world which they don't understand and having to confront an ever-darkening series of events which unfold. But much like Into the Night, some of the moments of character development feel overly reliant on humour. In the quieter sections, when the characters are not being frantically chased, things start to bog down and not all of the light relief works.
Although Liman is a good character director (having previously helmed Swingers and Go), he occasionally struggles to match the lighter tone of the characters with the darkness of the central theme. There are several pleasant moments which raise a chuckle, such as the scene at the country house. After Franka Potente takes ages looking for the key, Damon simply breaks the door down, in a manner reminiscent of Harrison Ford pulling out a gun in Indiana Jones. On other occasions the film almost slips into parody, for instance when Damon plans how to get information from a hotel, only for Potente to walk straight in and ask for it.
As far as the action sequences go, they are not as frenetic as in the sequels because the camerawork is not as intimate and the editing not so breathtaking. But they are still riveting to watch, and are a seamless continuation of the cat-and-mouse storyline. The car chase involving the Mini is a nice nod to The Italian Job, right down to the car careering down a steep flight of steps. And the fight scenes involving Damon really bring out the edginess and resourcefulness of the central character.
The Bourne Identity is a really solid, exciting action thriller which is intelligently written and directed with confidence. Both the script and the cinematography are lighter in tone than the sequels, and there are moments in which things become contrived or seem out of place. But calling it the runt of the litter would be very unkind, since it is a very fine thriller on its own terms. Whatever the merits of the sequels and all the knock-offs that followed, this is the film which proved that there was life left in the spy genre, being on a par with the best work of the Brosnan era. It is a really satisfying experience, especially in light of the genius to come.