There are hundreds of films with a protagonist who doubt their identity, which has everything against him and he finds unexpected allies on the way to carry out a mission that did not expect to play. A scheme that have recently played great as Scorsese ( Shutter Island) and Polanski (writer ). And occasionally there are some titles that stand out in this hackneyed genre. No identity is one of them. We are not talking, obviously, With North by Northwest, but no shots are very misguided if you think a reference to thematic and narrative identity No, the last English film director based in Hollywood Jaume Collet-Serra. With a fast pace, a correct and tight script, and an exceptional cast headed by Liam Neeson always superb, Collet-Serra offers an exemplary thriller that entertains from first to last scene with both offering onscreen as maintaining the viewer busy trying to discern the secrets hidden in the plot. And with a great car chase scene. It tends to have too much of these films, gutting much of the storyline soon. If the movie is meant to go slowly revealing the information, why burst it from the beginning your synopsis? The story begins in Berlin, a city that gets a marriage. He is to attend a scientific conference. From it we know nothing else is there to accompany her husband. How it triggers the plot is something worth discovering on the big screen. From there, which raises No identity is just what its title suggests (Unknown is added), what can a man do to solve a mystery about him in a strange city without documentation, no friends, no one who can confirm that is who they claim to be, with everything against him. The question between the reality on the one hand and the dream and fantasy for another over the film for much of his footage, but not the real engine Without identity, as the mystery is, in essence, simple. There is nothing in the film that would suggest that cheating. Just a story that unfolds. And very well indeed.
This is because the deal is believed to complete the story as much as the writer (an almost unknown Oliver Butcher) and its director, may seem bizarre at times and the typical small errors that the most fastidious always used to detract from the many successes of a film. Liam Neeson is a great actor and has enough charisma to sustain itself any project he pleases. Has the qualities to look strong and almost helpless with a single plane change, and that makes him perfect for this role. Diane Kruger and January Jones gives the female reply, and while the former seems to be improving with time (his first major role was Troy, which was rather cold and showing only be a beautiful mannequin), January Jones (a which we shall see in X-Men. First generation) is perhaps the weakest aspect of no identity. His character is the most deslabazado, which concentrate the biggest holes in the script and it prevents you from stress. Aidan Quinn and Frank Langella embroider their brief roles, even shorter in the case of Langella. The first is a actorazo who excelled for years and has been too long gone. The second is a feast for the eyes and ears.
But if the cast has Hollwyood these great names, we must not detract from European actors who are part of the film, led by Sebastian Koch (The Lives of Others) and Bruno Ganz (Downfall's Hitler.) All of them give a special luster to this movie, which is capable of maintaining the suspense and excitement during their nearly two hours of footage. It has hot spots, such as the splendid car chase through the streets of Berlin (the best ever seen in commercial cinema of the past years outstanding from all points of view), and the script knows how to move with enough skill among the lowest moments of narrative rhythm, not tired, but act as moments of peace before unleashing of this frenetic new march of history that makes the film well. Because there is no confusion, no job and a very good job of assembly. That is an added merit in this genre, usually cheat the audience or the camera shakes too much special effects and end up losing sight of the narrative.
The truth is that identity Sin is a surprise, a very pleasant surprise, because it comes from a director who seemed to specialize, almost typecast in horror films, after House of Wax and Orphan and more than curious break in his films which is a movie like Goal! 2 . The name of Collet-Serra wins a lot with identity No, because the thriller is a genre that Avusa of repetition and the routine and this film suffers none of these two defects. On the contrary, is a very entertaining story progresses naturally and away from those fireworks that usually offer directors (and producers) with a much more established reputation in the world of cinema. And on top of the opportunity to stick the pleasure of seeing a splendid cast, Without identity becomes one of those movies worth seeing. A notable great pleasure.
