Retro Film Review: The Interpreter (2005)

Hollywood executives have long been concerned about the rapid rise of anti-Americanism affecting foreign markets - a crucial factor that underpins the financial viability of many of their current products. The United Nations has also faced its own PR challenges, as the 1990s saw a shift from being an inefficient yet generally benign club of dedicated idealists to a perceived cesspool of corruption. The alignment of interests between these institutions culminated in The Interpreter, a 2005 thriller directed by Sydney Pollack.

The protagonist of the film is Sylvia Broome (played by Nicole Kidman), a woman who works as an interpreter in the United Nations building. She hails from Matobo, an African country whose president, Zuwanie (played by Earl Cameron), once lauded as a great liberator, has become infamous for atrocities such as killings, ethnic cleansing, and other forms of oppression. One fateful night, Broome overhears a conversation suggesting an assassination plot against Zuwanie during his visit to New York, where he is scheduled to address the UN General Assembly, pledging reforms and reconciliation to evade prosecution at the International Criminal Court. Broome promptly alerts the authorities and is placed under the protection of Secret Service agents Keller (played by Sean Penn) and Woods (played by Catherine Keener), who are tasked with ensuring Zuwanie's safety during his visit. Keller, however, begins to question Broome and her account, particularly as details of her radical past in Matobo emerge, shedding light on personal motivations that may drive her desire to see Zuwanie eliminated from power.

Most viewers with even a passing familiarity with global affairs are likely to recognise Matobo and Zuwanie as fictional representations of Zimbabwe and Robert Mugabe. This deliberate parallel aims to infuse The Interpreter with real-world relevance, elevating it beyond a mere run-of-the-mill Hollywood political thriller. Another distinguishing feature of the film is the authentic use of UN locations in New York, a concession the filmmaker seemingly secured at the expense of the film's objectivity towards the institution. Consequently, the protagonist seizes every opportunity to underscore the contemporary significance and utility of the UN. This portrayal of the UN resonated with many American leftists and liberals, including Hollywood filmmakers, who during early 2000s viewed the pacifist UN as a viable alternative to the assertive role of the USA as the global policeman.

However, this strong albeit somewhat unsubtle message is overshadowed by a plethora of clichés and implausibilities stemming from the screenplay, reportedly crafted by a committee of five different authors. Sydney Pollack's traditional yet effective direction momentarily masks these flaws, yet numerous scenes are marred by superfluous dialogue and unnecessary subplots. For instance, the film dedicates considerable time to Sean Penn's character coping with his wife's death, slowing the plot pace considerably. Another instance involves a character, Zuwanie's primary adversary (portrayed by George Harris), conveniently residing in Brooklyn and commuting by bus daily, solely to facilitate the film's most visually striking yet least credible action sequence.

The most glaring flaw lies in the casting of the otherwise talented Kidman in a role that embodies less of a human character and more of an idealised archetype of the Western liberal - beautiful, intelligent, environmentally conscious, musically gifted, culturally refined, embracing diversity, and always making the right decisions at pivotal moments. This overt perfection undermines any suspension of disbelief and erodes the film's semblance to reality. The narrative culminates in a melodramatic fairy-tale conclusion that extols the UN's efficacy as an instrument of international justice and peace - a notion that many individuals in places like Rwanda or Srebrenica would vehemently dispute. The Interpreter may be watchable, but it ultimately leaves a bitter aftertaste, portraying a film that may have satisfied its creators but failed to resonate with its audience.

RATING: 4/10 (+)

(Note: Original version of the review is available here.)

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