Many actors, during their career, focus on a type of role. Many others, however, constantly try to break the schemes with chameleonic interpretations. Liam Neeson is one of the few who can boast of being both. Recognized for countless roles in historical, dramatic, romantic comedy, science fiction and even superhero narrative, the Oscar winner is also one of the great actors of action thrillers of the last decades. Now, at 70, the British returns to the ring with ‘The memory of a killer’, an intense film directed by Martin Campbell (‘Casino Royale’) that can already be seen in theaters.
The film follows in the footsteps of Alex Lewis, a veteran assassin hired for a last job: to assassinate a girl who could endanger the reputation of a great international entity. His morality obliges him not only to refuse such a task, but also to act as a vigilante to stop all those who are involved in this horrible conspiracy of corruption and child prostitution. But there are two problems. The first is that the police are not exactly in favor of the extreme methods of him therefore, despite having the same goal, he will try to stop him. The second is even more serious. The age of Lewis is already remarkable and, although he still has exceptional physical abilities, his mind begins to fail because he develops Alzheimer’s. The episodes will become stronger and stronger, putting their entire mission at risk.
Campbell stamp
The premise of “The memory of a murderer” is actually based on a Belgian film released in 2003 with which he shares the title, and which in turn is based on the novel “De Zaak Alzheimer” by the writer Jef Geeraerts. In the European film, director Erik Van Looy gave a very dense and stylized dramatic tone to the history of the assassin. But Martin Campbell preferred to distance himself from all this. It is true that the basic narrative pillars are the same, praised by the same director when he considers them “very well built”. But the creative license allowed him to remodel some aspects at will.
The first and most evident is located in the character of the great Villain, Davana Sealman, the CEO of the investment fund from which the entire criminal network is interwomened. In the original film the character was a man, but the transition to Monica Bellucci works perfectly. Sealman is an enigmatic, cunning and manipulating woman, a classic of the genre. Another great change with which Campbell plays is the ending of the film himself, which we will not reveal but who has nothing to do with that of 2003, thus keeping the surprise for the viewer. Finally, in turn, the effort to transform the records to convert the film into a thriller with much more action is particularly appreciated.
An action without anything special
However, this virtuosity and the ease of the director in bringing “the memory of a killer” on a ground known to him brings an obvious negative counterpart. The action sequences are, to say the least, correct, of course. Very fun and sometimes really fast. But the plot of the film itself is much more diluted and obscured. It is true that Neeson’s character is constantly followed and that his degenerative mental problems occupy a good part of the movie, but everything around him is much less developed.
Moralistic, political and social speeches are too empty and widespread, they do not acquire the power they claim. An attempt is made with a rotten portrait of the high spheres of power, but nothing resonates. Lack of emotions and lack of epic to really interest, despite some well -conducted twists. In the end, ‘The memory of a killer’ proves to be a standard action thriller, with very serious but not so well declared beliefs.
Everything happens on the screen without really importing or involving the viewer. And above all, he cannot stand out, remaining as an extra film of the genre which, ironically of fate, will lose too quickly in the memory of those who will see him. ‘The memory of a murderer’ does not find a personality, who could perhaps find himself in plots that discards in an empty background, like the relationship between the character of Neeson and the girl. The film tries to enclose too many different themes in a monochromatic range of dark tones and falsely eloquent scenes.
Liam Neeson ages
To underline something in addition to his moments of action and frenzy, the self -awareness of “The memory of a killer” with his leading actor is commendable. They could have chosen an older standard artist, but they chose Neeson. And, accustomed to seeing him as that great hero of action, hard and full of strength, the plot of Alzheimer’s is new lymph for him. For once, in a character perfectly adapted to his typecasting, we see him vulnerable. Higher. His memory is missing, his hands tremble and the film reminds us that the legendary actor is no longer 40 years old. And the age of him weighs. This reflection on old age and mortality is, without doubt, the best and most accurate reading that can be extracted from the film.
Together with Neeson, there are two big names on the ribbon that are much more wasted. The first, as we have already mentioned, is that of Bellucci. In the case of him the interpretation is splendid and very credible. The role of that evil and intelligent manipulator suits her like a glove. But “the memory of a killer” does not give you all the minutes you should enjoy. And the second great sin of the cast is that of Guy Pearce in the role of a policeman too lost and who moves away from the great works of him.
In short, “the memory of a killer” does not satisfy what one might expect from its seductive premise. The action is very well built and divided into compartments, but the tension and intrigue it should show are not so many. Some reflections, especially the more self -aware ones, are very well made. But many others are lost in a limbo of boring and not very exciting scenes. It is correct, but there was material to get much more.
Note: 6
The best:
Worse:
Source: E Cartelera
