Commentary By Andy Ray
It’s November 1979. Iranian citizens storm the U.S. Embassy in Tehran and take 52 Americans hostage. Six other Americans escape to the Canadian Embassy. Wait a minute! I didn’t know six other Americans escaped to the Canadian Embassy. Is that true? How’d they get out of Iran? Did they get out of Iran?
These six Americans are the heroes of Ben Affleck’s latest release, “Argo,” a thrilling story of a CIA man (Affleck) who helps them escape unnoticed shortly after their capture. Details of this side-story to the Iran Hostage Crisis were only released by the federal government as recently as 1997. Why? Because of the details of their daring escape. You see, Affleck’s character and the six hostages disguised as an American film crew scouting exotic locations for a “Star Wars” rip-off. Yes, really. This allowed them to bypass Iranian security just in the nick of time.
I realize this sounds implausible, but it actually happened. The details were suppressed as a result of the continuing hostage crisis surrounding the other 52 Americans. However, the CIA had to cover all its bases. Ads for this fake motion picture, “Argo,” actually ran in “Variety.” An actual director was hired, and a script was written. “T”s crossed. “I”s dotted. And it worked!
And this is why I loved “Argo.” Even though we now know the outcome, Affleck creates enough suspense to keep us on the edges of our seats for two hours. Ron Howard created the same suspense in 1995’s “Apollo 13” – another story with a well-known outcome. And that, my friends, is a crowning achievement. If the script had been written directly for the screen (i.e. outcome unknown), I might expect a certain level of suspense. But here, the chills and thrills derive from a known story.
I also liken “Argo” to “Wag The Dog,” although “Argo” is not nearly as funny. The first half-hour, depicting the takeover of the U.S. Embassy in Tehran, is scarier than any of the frights manufactured for the screen in any of a dozen recent so-called horror flicks. Now, there is some welcome comic relief via Alan Arkin and especially John Goodman, as the director and make-up artist who cover the bases at the Hollywood level. The best supporting performance comes from Bryan Cranston as Affleck’s CIA boss. He covers the bases in Washington, which proves to be no small chore. Cranston reminded me of Richard Crenna in the first three “Rambo” movies – intense, powerful, and moving. When he’s on screen, none of the other characters at CIA headquarters matter.
Affleck has produced and directed a tight thriller of a picture here. He’s always been a talent, but perhaps more so here than ever. Seeing “Argo” almost made me forget the “Bennifer” days of the early years of the millennium. Affleck is back, and Hollywood is the better for it.