LAFF: The Two Faces of January

Based on the Patricia Highsmith novel, The Two Faces of January is a wonderfully delicious noir crime thriller. Equal parts style and substance, the film is a visual feast of gorgeous Greek locales and excellent plotting through character.  Equal parts Fitzgerald and Hitchcock, the film is one grand party until it all comes crumbling down. And crumble it does. 

Chester MacFarland (Viggo Mortensen) is vacationing with his wife Colette (Kirsten Dunst) in Athens. The year is 1962 and the two, having no financial burden, are experiencing the city as any wealthy socialite should. At the Parthenon they meet ex-pat Rydal (Oscar Isaac) who is working as a tour guide.  Chester reminds Rydal of his deceased father and a tenuous relationship develops between the three Americans.  After a late night of drinking, Rydal returns to the Macfarland's hotel to return a bracelet Colette left in the taxi. Here he finds Chester struggling to cover up a murder and the film's weaving and duplicitous parts are set in motion. 

Watching Viggo Mortensen unravel in his mythological fall from grace is the breath that gives the film its soul. While both Dunst and Isaac do fine work, Mortensen's character is layered with the inner turmoil of knowing he's done wrong, but is trying to keep things together.  The film, about three people on the run, has great momentum and pauses only when necessary to offer glimpses of character. The cinematography is gorgeous and the score haunting. While the ending is a little too neatly resolved, there is enough in the performances and cat and mouse-like chase to keep audiences engaged throughout.