‘Argille’
Manager: Matthew Vaughn
Artists: Bryce Dallas Howard, Sam Rockwell, Henry Cavill
Year: 2024
Premiere: 2/2/24
★★★
After examining superhero cinema in his own way, both actively (‘X-Men: First Class’) and passively (‘Kick-ass: Ready to Crush’), Englishman Matthew Vaugh has found a vein to exploit espionage cinema with a mix of adventure and parody. Thus, the trilogy consisting of ‘Kingman: The Secret Service’, ‘Kingman: The Golden Circle’ and ‘The King’s Man: First Assignment’ was born. His latest film, ‘Argylle’, is like an extension of this cycle of espionage between the ‘Englishman’ and the joker, with a more elaborate plot formulation and simpler results.
Who is Argylle? A fictional character within fiction. This is a very attractive and determined spy. (Henry Cavill is used to these missions, since he was already a CIPOL agent in the famous sixties film version) was invented by the author of successful spy novels (Bryce Dallas Howard). But it turned out that the conspiracies invented by the author are very similar to the activities of a criminal organization. And as the novels unfold – four of them are completed, and a fifth is completed as the film begins – the leader of the syndicate (Bryan Cranston, more taciturn than in ‘Breaking Bad’) becomes angry and surrounds the novelist.
An introvert in his private life, he is very determined when writing (he does not have a partner and lives alone with his cat Alfie), and is absolutely naive when reality exceeds his fiction. After the appearance on the train of an agent (Sam Rockwell) who claims to be there to protect her, and several colorful chase and shootout scenes. The highlight of the villain played by Dua Lipa (An exaggerated claim since his role is minimal), the story turns into a kind of action movie and parody of spy stories. And here we complete our journey through the twists and turns of the story, so as not to fall into the damn “spoilers”.
Visually stunning as always for VaughnAlthough there are many situations in the script, others are missing, and there are many gaps that are repeated in the director’s films, ‘Argylle’ is presented as a narrow reflection of the subtle difference between reality and fiction and what creates someone. Whether he is a novelist, a filmmaker, or a painter, it can eventually consume him. But this is a bird’s eye view, because filmHalfway around his equator, he prefers overwhelming over subtlety, expected situations over unpredictable ones.
After a good construction of the main characters and their identities and the secret detours of memory, ‘Argylle’ becomes an exhibition of action choreographies, each more frantic and therefore meaningful: a gunfight on a freighter filmed as a psychedelic experience of violet and yellow. a real ice skating ballet, except that the white, solid surface of the ice is replaced by a greasy mass of fat.
At times it seems like the film is designed for these exciting moments and somewhat neglects the journey it takes to get to them.. But overall it’s internally consistent and, deep down, it shows a pretty convincing portrait of how far both the government and corrupt spy agencies will go to achieve their goals. It’s not the first time similar themes have been discussed: ‘Fatal Memory’ with Geena Davis was in this vein almost three decades ago. The interest lies in how the iconoclastic Vaughn presents these.