Tony Gilroy’s follow up to his critically acclaimed and Academy Award winning film, Michael Clayton, is the slick spy comedy, Duplicity (Universal Pictures). The film reunites Closer co-stars Julia Roberts and Clive Owen as two former spies who use their mutual attraction and espionage skills to try and con their respective bosses, two CEOs of rival corporations.
Roberts, who plays ex-CIA operative Claire Stenwick, looks and acts like a Hollywood star, something she hasn’t done in a few years. Her character is smart, sassy and not afraid to go to any lengths to achieve her goals. Roberts plays well off of Owen, and their relationship is off-kilter and a lot of fun to watch.
Owen turns in every bit as good of a performance as ex-MI-6 operative Ray Koval. Owen is charismatic and charming, and, though his character doesn’t manipulate quite like Roberts, he still plays others off of each other with ease.
Paul Giamatti and Tom Wilkinson (who play Dick Garsik and Howard Tully respectively) are perhaps the best aspect of the film, playing the two rival CEOs. Both actors steal the scenes they’re in, even though they aren’t given much material. Though they only have one scene together, they’re hatred for each other and constant scheming against one another provides the driving force for the plot as well as a significant amount of humor.
Gilroy goes in a completely different direction from Michael Clayton with Duplicity.
Though both films touch on the corporate world, Clayton‘s theme of corruption and its generally dark, brooding tone is a complete contrast from Duplicity, which is about deceit and espionage (but also romance) and has a fun and stylish tone to it.
Though at times the film seems comparable to Ocean’s Eleven, Duplicity has significantly more substance and a more complicated plot. Sure, the two films both have “a-ha!” moments (not to mention Julia Roberts) but Duplicity delivers a more intricate plot with a number of unique twists.
One of the best elements of Duplicity is the cinematography and editing. There are many uses of split-screens throughout, and sweeping shots of many exotic locations that juxtapose the skyscrapers and crowded streets of Manhattan’s business district. As the story unravels, various flashbacks clue the viewer into the depths of the plot, transporting the viewer to scenic locations like Rome and Dubai.
Audiences, however, have to pay attention during Duplicity to receive the film’s total effect. The plot’s many directions may leave some viewers unimpressed, those who can follow Gilroy’s fast-paced film will be rewarded with a slick and stylish fun time. This aspect of the picture may also serve to frustrate those viewers who may want a more straightforward popcorn movie.
Overall, Gilroy delivers a solid film in his second directorial effort.
Though the film is light-hearted it’s breezy and seamless meshing of genres make for an amusing and intelligent ride.
