Assassination
Tango is a little film about assassination and Tango that you’re probably
not going to like if you’re not a fan of Robert Duvall’s. Then again
who doesn’t love Robert Duvall - from To Kill a Mockingbird, The Godfather
to Tender Mercies and on and on? Duvall wrote, directed and stars in this love
letter to the art of Tango dancing that is refreshingly free of any kind of formulaic
clichés.
Duvall
plays John J. - a self-styled Brooklyn contract-hitter who plays by his own rules
who is fast approaching the age when it’s time to hang up his holster. John
J. has already paced his career into something of a 9 to 5 affair, having recently
settled down into a marriage with a woman (Kathy Baker) who brings to the table
a 10 year old daughter, whom he dotes on to a fault. The assignments he typically
takes-on are small-time local jobs given to him by Frankie (Frank Gio) a small-time
player/boxing mogul who also runs a dance studio. A few days before his daughter’s
tenth birthday, Frankie offers John J. a bigger and much more lucrative hit that
will require him to travel to Argentina. Under the solemn understanding that the
job will only take a few days and will allow him to be back in town for the party,
John accepts the proposition and is soon on a plane to Buenos Aires.
This
time out the hit involves a much-maligned and murderous military figure, who is
far more powerful and well-protected than the individuals John is typically paid
to visit. Still his contacts in Argentina - two brothers Miguel (Ruben Blades)
and Orlando (Julio Oscar Mechoso) assure him that he will be able to carry out
his assignment under the time constraints involved. Again the story-line of the
film meanders and may frustrate those looking for a typical action/thriller, but
Assassination Tango is far more interested in taking it’s time and exploring
the world through the eyes of this quirky character that Duvall has dreamed up.
John
J’s other contact in Argentina is a fight-promoter named Tony Manas (Raul
Outeda) who conveys his doubts about Miguel and Orlando and before long it becomes
clear that Duvall is merely a pawn in this game and really has no one in his corner
that he’ll be able to count on in the clutches. We find out early on that
he is being watched, and a fortuitous turn allows John J. in on the fact that
things are probably not as they appear. The biggest set-back comes when his mark
is taken ill, and won’t be following any of his daily routines that the brothers
have outlined for him. John phones Frankie and vents his displeasure about this
wrinkle in no uncertain terms, yet John has no choice but to stay put and wait
it out, even if it means letting his daughter down.
Now
with plenty of time on it’s hands, the film is allowed to pursue it’s
true passion. While out and about on the streets he is drawn to a dance hall where
he happens to observe a statuesque latin dancer (Luciana Pedraza) engaged in a
kind of authentic tango dancing that has him dazzled beyond words. Mesmerized
by her savage grace and singular, mannish beauty, John J. is swept up in this
dream-like microcosm and soon the delay in his plans have become smething of blessing.
Emboldened by his worship and conversant knowledge of the dance form, he finds
the opportunity to approach the dancer, who finds the well-weathered stranger
and his straight-forward manner attractive and before long they are discussing
tango, and his interest in getting a few personal lessons, over coffee. Pedraza
(to coin a tired expression) is a revelation here - her candid nature and unusually
sensual bearing gives the film the boost it desperately needs during the second
act.
Duvall knows
better than to over-romanticize this character, he sleeps with a hooker, before
meeting Pedraza and, to her, confesses that he is much more in love with his step-daughter
than his wife and when she turns the conversation in the direction admits to a
few infidelities. For her part, Pedraza openly confesses her interest in him sexually
and it looks as if the two may do more than share the dance floor. John J. spends
time with her family, all of whom are aficionados of tango and, in so doing, compromises
the professionalism of his business.
Things
continue to devolve where the hit is concerned, which forces John J. into a bit
of improvisation, this causes a great deal of fallout where his contacts are concerned
and things begin to unravel badly. I found this portion of the film to be satisfyingly
suspenseful and his quest to make it back to Brooklyn with only his wits and experience
to fall back on are mostly effective.
Whether
or not this film will impart in it’s audience the adoration Duvall evidently
feels for the art of tango dancing will depend a lot on the individual, but I
found myself sufficiently won over by Assassination Tango to give it a strong
enough recommendation. Duvall is not completely confident behind the camera, but
for all of it’s crooked trajectory, his confidence in capturing this character
manages to hit the mark.
