Taken: Neeson Brings the Pain
This girl, she was on ‘Lost’. You’re going to tell me what the hell her character was really doing there. TELL ME!!!
Rating: 9 out of 10
Sometimes it’s good to take a breather after watching a film, really take some time to process what you thought about it. Strolling out of the darkness on Friday night, I was on an adrenaline high from the film I just witnessed. I was already writing the headline in my mind, “First Perfect Score!”, “10 out of 10!”, or “I Got Taken!”, but now that I’ve had a couple days to catch my breath and really mull over the difference between the movie itself and the movie experience, I regretfully say you are going to have to wait a little while longer to hear me rant and rave about my first perfect film. But take heart, Neeson and crew came achingly close and I’m thrilled to give it the credit it deserves.
Taken is a terrifyingly simple story: Overprotective Dad find out his young and virginal daughter has been kidnapped. Of course, most fathers are going to do everything they can to get their daughter back, but in this case, “everything he can” encompasses a lot more than the usual retiree father. Calling on skills from his previous job as a “preventer” for the government, the father races off to Paris to follow his daughter’s trail and pick apart anyone and everyone who either stands in his way or had anything to do with the crime. It’s a prime example of a man on a mission and nothing in the world is going to stop him.
Simple story, right? So what could possibly make it so good or so much better than all the other ‘action/spy/thriller’ films we’ve seen in recent years? First off, Liam Neeson, who plays the incredibly dangerous dad, Bryan Mills, already brings a level of talent and pathos to the character we would have lost with a less skilled actor. Neeson is no stranger to playing undeterred heroes, in such films as Michael Collins, Rob Roy and even Schindler’s List. These were all men who were willing to step way over the line in the fight for what they believed in. Now you mix that determination with the moral ambivalence of another of Neeson’s previous creations, Darkman, and you get our paternal savior from Taken. Neeson is an unstoppable juggernaut, once set in motion he is unswerving in his determination to achieve his goal. The hero’s code has no place in the world of this character and brings a fresh feel to what normally would have been a very standard role. Picture Jason Bourne without a conscience and you’ll be right on the money. The care and ethical treatment of others is void from his actions, even those who would be considered his friends. Another reason why I liked this character so much is it reminded me of an adult version of Brick, another film with a lead character who steamrolls over everyone in his path. (If I had been reviewing film back then, Brick would have undoubtedly received a perfect score. If you haven’t seen it yet, make it a priority.) Outside of Neeson’s stoic violence, the only other actor worth mentioning is Maggie Grace, who plays Kim, the kidnapped daughter. She amazingly looks the part, even though her real age is far above the seventeen she plays in the film, but there were a few moments where she regressed a little too far, playing closer to fifteen or even thirteen. I can’t be sure whether it was a bad choice on the director, actor or if they were trying for a subliminal critique of how sheltered the character was from the real world, but either way, it just came off odd.
Continuing it’s reasons for success, Taken is also written extremely well, with a solid sense of pace and a keen eye towards the importance of development when needed. Most spy movies jump right into the espionage and a gunfight will erupt within minutes of the opening credits, but the inciting incident, the kidnapping, doesn’t actually come for at least twenty minutes. This gives the audience plenty of time to get to know daddy Mills and his daughter Kim, what their relationship is like and by the time she disappears, Mills has already had one chance to show off his skills, so the audience has a logical basis for all the damage he is about to incur on the villains. That brings up another particularly interesting twist in screenwriting; there is no antagonist character here. No villain which we can all attach our hate and anger to, the antagonist of the film is the crime itself and the society that promotes it. Each time a face or a name is revealed to be the person Mills is after, he finds them and dispatches them before anyone gets a chance to really attach anything to them. Normally this would be a failure in the writing, but screenwriters Luc Besson and Robert Mark Kamen achieve a lofty switch by making this movie all about the crime itself, instead of a single person. This writing duo is not unfamiliar with the action/thriller landscape, having penned the Transporter series, along with The Fifth Element, Kiss of the Dragon and Leon (the last one was Besson alone), so it doesn’t come as a big surprise that Taken has such a rich underbelly of character and subtext usually unfound in this genre.
Recommendation: A pulse pounding thriller with a slow burn to begin, this is a rare find in the cinematic world. There are moments in this film you will definitely not see coming and those alone make it worth a viewing, whether in the theater or at home. Neeson truly succeeds in making your first meeting with your girlfriend’s dad scary once more.
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