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The American (2010)

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An assassin hides out in Italy for one last assignment.

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Writers:

(screenplay), (novel)
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3,495 ( 341)
3 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Jack / Edward
... Ingrid (as Irina Bjorklund)
Lars Hjelm ... Hunter #1
... Hunter #2
... Pavel
... Father Benedetto
Giorgio Gobbi ... Man on Vespa
Silvana Bosi ... Old Cheese Vendor
... Mathilde
Guido Palliggiano ... Waiter (Market)
... Young Swedish Man (as Samuli Vauramo)
Antonio Rampino ... Postmaster
... Clara
... Fabio
Ilaria Cramerotti ... Hooker #2
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Storyline

Alone among assassins, Jack is a master craftsman. When a job in Sweden ends more harshly than expected for this American abroad, he vows to his contact Pavel that his next assignment will be his last. Jack reports to the Italian countryside, where he holes up in a small town and relishes being away from death for a spell. The assignment, as specified by a Belgian woman, Mathilde, is in the offing as a weapon is constructed. Surprising himself, Jack seeks out the friendship of local priest Father Benedetto and pursues romance with local woman Clara. But by stepping out of the shadows, Jack may be tempting fate. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

George Clooney is

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for violence, sexual content and nudity | See all certifications »

Parents Guide:

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Details

Official Sites:

Official Blog | Official Facebook |  »

Country:

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Language:

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Release Date:

1 September 2010 (USA)  »

Also Known As:

A Very Private Gentleman  »

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Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend USA:

$16,662,333, 5 September 2010, Wide Release

Gross USA:

$35,606,376, 4 November 2010

Cumulative Worldwide Gross:

$67,876,281, 4 November 2010
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The small red truck-like vehicle that 'Jack' repairs for 'Father Benedetto' is a vintage Moto Guzzi Ercole. It is essentially a three-wheeled motorcycle with a small pickup bed. This particular Ercole (Italian for "Hercules") is equipped with the optional 2-door cab. See more »

Goofs

Mathilde specifies a rifle with accuracy at 150-175 Meters (approx. 160-190 yards) and with "rapid" rate of fire. The rifle provided (Ruger mini-14) even heavily tuned with a scope is only accurate to around 100 yards (92 Meters). The rile is also semi-automatic (Cycles the next round automatically but only fires a single shot when the trigger is pulled) so the rate of fire is down to the shooter. See more »

Quotes

[first lines]
Ingrid: You know, I thought I maybe drive into town. You want something?
Jack: No.
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Crazy Credits

The credits at the end are in order of appearance. However, the 3 hookers are listed in the order: Hooker #2, Hooker #3 and Hooker #1, which logically doesn't make sense. See more »

Connections

Features Once Upon a Time in the West (1968) See more »

Soundtracks

Un Bel Di Vedremo
from 'Madama Butterfly'
Written by Giacomo Puccini, Luigi Illica, and Giuseppe Giacosa (as Guiseppe Giacosa)
Performed by Maria Callas and The Philharmonia Orchestra
Conducted by Tullio Serafin
Courtesy of EMI Classics
Under license from EMI Film & Television Music
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Frequently Asked Questions

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User Reviews

 
It's slow, but on purpose, and it has something approaching lyricism
1 August 2013 | by See all my reviews

The American (2010)

Like many George Clooney movies, this one is cinematically superb. You can pick the obvious, like his "Good Night and Good Luck" which he directed and had filmed in gorgeous black and white, or "Solaris" for director Soderbergh's lyrical if romanticized sensibility. Or "Syriana," "O Brother," "Three Kings," and "The Thin Red Line" all in the last fifteen years, all filmed with love, and generally with good effect.

What this means is he is more than an actor, he's an influence behind the scenes. And he's good for the movies (the industry), even if sometimes he pushes his movies into a slickness that is dulling. And that might be the flaw in "The American," the reason why this doesn't quite rise to the poetry it intends. There are aspects that make it one of those films that will view really well fifty years from now. In fact, a lot of it is wordless and so it will be culturally timeless. But it also lacks that daring taut emptiness or plain beautiful long pace of its better intentions. That is, it doesn't go far enough.

"The American" is not about much, in a way. There is the LeCarre sense of a specialized spy alone in a dangerous world, and it's the aloneness that leads to lots of inner thoughts, an attempt to figure out what really matters in his life. And that's why it works in a bucolic way. The ostensible plot is about one final professional job the man has to do, making a highly specialized gun. There are enough scenes of him working on it on a kitchen table, almost caressing the machinery of it, high in a mountain village in Italy, that we can appreciate it on a simple level of craft.

There are women (always too beautiful for their own good) and there are evil men on his tail (ruthless and never quite as clever as Clooney). In other words, there are the usual elements of this kind of world. But most of the time the movie takes its hold on a more direct, sensory level. Some people will find that simply boring. Not enough "happens." But if you let it envelop you, and if you aren't in a hurry, and if you can see it on a larger screen (to maximize those sensory effects), it might really impress you.

Finally, it has to be admitted that the plot is a bit of a borrowing from "Day of the Jackal." Some of the acting is mediocre, too, but not Clooney, and not his one main sexual interest, played by Violante Placido, though she doesn't have a big role. The countryside is so beautiful you might be satisfied just with that, actually. Sit back and watch.

This was my second time around and I didn't realize it and I almost didn't keep going because the simple plot (with lots of peripheral characters) is important, and I remembered a couple of the big twists. But the movie has such a beautiful, flowing narrative pace and visual fluidity I ended up watching it again, every minute. And I probably liked it more this time, not worried about the events as much as how they were shown.


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