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No Way Out (1987)

No Way Out (1987)

A neo-noir thriller that carries its Old Hollywood look like a badge of honor

7.8

Movie

United States of America
English, Russian
Drama, Thriller
1987
ROGER DONALDSON
Brad Pitt, Charles Walker, Chris D.
114 min

TLDR

In a noir, never trust a beautiful woman, a power-hungry politician, or a virtuous marine.

What it's about

U.S. navy commander Tom Farrell (Kevin Costner) find himself sandwiched in between his new boss, Defence Secretary Brice (Gene Hackman) and his mistress, Susan (Sean Young).

The take

The film that catapulted Kevin Costner to fame, No Way Out, is based on a novel by Kenneth Fearing, "The Big Clock", and is also preceded by a film adaptation of it, around 40 years prior. Director Roger Donaldson found himself in charge of a film, haunted by the Cold War and spy thriller tropes, but already aligning itself with the late 80s erotic thriller. In a way, No Way Back is a symbol of this transitional period, but by retaining the classic noir vibe (deception, fleeing, yearning), it becomes a tribute to the past. In the film's own past, a love triangle is taking shape in a rather unconventional way: layered with all three of the aforementioned dispositions. Two men want the same women, but their relationship is further complicated by professional hierarchies and the quest to own the past they both shared with Susan. 

 

What stands out

A remake of a 1948 suspense drama, No Way Out has all the markers of a great neo-noir: the mystery/sleaziness of everyone's motivations, progressively tense editing, and evocative close-ups at crescendo times. The ways the film weaves in macro- and micro- politics is also reflected in its solid look. Its uniform aesthetic is owed to cinematographer John Alcott, known for his collaborations with Stanley Kubrick. Alcott passed away before the film's release, but left an exemplary addition to his legacy. No Way Out has a whiff of the Old Hollywood classics, the way images fluctuate from static to kinetic with the snap of a metaphorical mouse trap on a character, often deservingly so.

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