By Joe Hammerschmidt
Not every film one witnesses may leave a lasting impression, especially if it belongs in a genre that wasn’t necessarily one’s cup of tea growing up. The marketing campaign for Chris Weitz’s Operation Finale repped the work as a straightforward war drama that lays its period repercussions a little too thick. I’m happy to report there’s plenty more under the surface that makes this two-hour thriller watchable, though not as rewatchable as you’re likely to ponder upon stepping out of the theater. Consider it one of those rare occasions where all the ducks are in a neat row: a catchy premise with real-world historical connections that feels as familiar as it would be insightful; Oscar Isaac and Ben Kingsley in leading an all-pistons-firing ensemble cast, though not quite at career-best; and a seamless transition in between genres, yet oddly leaving a promise for more action where there are only more dramatic overtones. What it lacks in consistency, it makes up for in deep, rich character study.
And that starts right off the top with Isaac, portraying the energetic and conflicted Israeli intelligence officer Peter Malkin, our possible hero, leader of a ragtag band of fellow secret agents responsible for the final takedown of the Third Reich’s remaining closet skeletons. Buenos Aires at the turn of the 60s serves as the backdrop for a dramatic sting option to capture and wear out disgraced lieutenant colonel, and implementer of The Final Solution, the aging Adolf Eichmann (Kingsley). Once the man responsible for transporting millions of Jews into concentration camps where mass murder was normally the constant. Combining the elective forces between Malkin, Mossad director Isser Harel (Lior Raz), medical consultant Hanna Elian (Mélanie Laurent), coordinator extraordinaire Rafi Eitan (Nick Kroll) and senior agent Zvi Aharoni (Michael Aronov), poor Eichmann is pigeonholed into a rather ersatz living arrangement while awaiting flight clearance to stand trial in Jerusalem.
Screenwriter Matthew Orton makes a convincing first-time flourish, while likely pushing too far on the “safe route” by incorporating plenty of Argo-esque motifs. Namely, it’s the idea of being trapped in a singular location for far too long, wasting energy on a stubborn Eichmann, whom Kingsley portrays with a bitingly ironic sense of humor, but unafraid to bare his contempt for the covert team essentially sending him his death sentence. Even when his behavior nearly exposes teeth, he’s calm, he’s collected, he remains on a level head, more so than his accidental superior, whose composure crumbles with his peers, the less likely their quick extraction is guaranteed. The recruited ensemble is captained easily through Isaac, not quite at the top of his game, but certainly at his most capable.
Improving significantly from his severely one-note supporting role last fall in Suburbicon, he returns back to leading man driver’s seat with ease, always quick with the trigger to raise the emotional stakes, even in the midst of flashbacks; no surprise, Malkin’s family was brutally affected by Eichmann’s helpless actions at the height of the Holocaust, notably sister Fruma (Rita Pauls), whom Adolf uses as a spirit pawn to play to Peter’s better nature. Hokey, yet still effective, and impossible not to find sucked in during the pivotal middle-third. Kroll, a naturally comedic actor, did not mess around, in easily his first standout dramatic part. Of course, his humorous abilities contribute to staving off an unintentionally dry demeanor, only under increased scrutiny via Isaac’s partial chemistry with Laurent. Their characters former lovers in years past, both wanting different things, but they are rather unsure just what they want in trying to rekindle.
Weitz, back to the director’s chair after a seven-year break, is a tad rusty. His own uncertainty can be felt in a rather immediate lack of urgency, in reeling what feels like multiple subplots weighing each other down until everything’s conveniently wrapped up. It’s no more than two mainline stories intersected around Kingsley’s performance as Eichmann, and the way Orton conveys the pair, Weitz charts a course that is oft-times confusing, and rather distracting over just what I was supposed to be paying most attention to. Given this film is rather meaty at around two hours’ runtime, that did allow for plenty of time to devote to the Reich leader’s family, wife Vera (Greta Scacchi), daughter Sylvia (Haley Lu Richardson), but particularly son Klaus (Joe Alwyn of Billy Lynn fame), who’s clearly determined to follow in his dad’s footsteps, and steps in as man-of-the-house to retrieve their patriarch. Alwyn is manageably pleasant taking on a small part, but in no way does it allow itself any normative reprieves from the obvious A-plot.
Therefore, Weitz, who I feel is more comfortable working off his own words, is essentially playing chicken with a very fast-moving train, Orton’s script, trying to make sense of each point of action as quickly as the audience must, and struggling just a tad. Given those circumstances, he advances toward those weaknesses and keeps the viewer gripped in tight focus, not just for the characters, but for the actions which drive them. Of course, it is Eichmann’s story first, Malkin’s second; the two sharing one side of a terrible fate, with one’s family destroyed, another’s reputation tarnished by bad social choices, culminating in dramatic courtroom proceedings. I’d have loved to see more of that justice being served in the final minutes, to complete the picture of a most egregious act committed, by a rather evil man worn down to just his guilty conscience.
Complete with another award-worthy musical backbone from Alexandre Desplat, a multitude of warm, gritty locale shots from Weitz collaborator Javier Aguirresarobe, and subtle Oscar-potential makeup work through the skilled hands of Karina Camporino, here lies a fascinating discovery of moral comeuppance seen through a figure of utmost disdain. Even as I finish writing this review, I still feel there’s more I could say down the line that could make more sense toward what kind of film Operation Finale truly is. As a baseline character study, it’s incredibly spot-on. War enthusiasts may feel the storyline comes up short, possibly expecting more. World history buffs and those who wish to learn further into Holocaust history will likely find the most to gain. It is as suspenseful as they come, unafraid to get too dark, insanely brave to poke any laughs into such a hard center. Again, thank Mr. Kroll for most of those funny moments. Yet a part of me is still scratching my head over the exact brand or genre this potentially understated delight may be attributed best to. No matter, for a film whose source material isn’t exactly tied to any biographical works and can still put its actors at enough of a tough challenge, both sides win out. Especially when shedding the brightest light on those considered enemies on the surface, complex humans if one looks just a little deeper. (B-)
Operation Finale opens in most area theaters today; rated PG-13 for disturbing thematic content and related violent images, and for some language; 123 minutes.
