Movies We Like
The Bourne Ultimatum
The last (for now) of the Bourne trilogy, which turns out to be the most intriguing of the three due to its critical approach towards Hollywood’s demand for viewer identification. Based on Robert Ludlum’s series of novels, the distinguishing feature of Jason Bourne (Matt Damon), keeping him from being just another fantastic superspy in the mold of James Bond, is that while his super-abilities come from his secretive training, his morality comes from no longer being able to recall the ends for which he was trained. Thus, the narrative thrust of the trilogy: in trying to find out who and what he is and why a top secret offshoot of the C.I.A. wants him dead, he tries to make amends for various assassinations he performed, but can only remember as abstractions without their ideological intent.
So as not to condemn the entire C.I.A., there are good guys (Julia Stiles as Nicky Parsons and Joan Allen as Pamela Landy), who recognize the wrongs perpetrated on Bourne by the ultra-clandestine offshoot, Operation Black Briar, and real bad guys (David Straithairn as Deputy Director Noah Vosen and Albert Finney as Dr. Albert Hirsch), who do everything they can, including killing innocent civilians, to keep the conspiracy under wraps. In terms of the action spectacle, the film delivers (although there is an extended sequence involving cellular technology that reminded me of that tedious Ben Affleck actioner where he spends an hour and a half with a phone to his ear). As with 007, the object of the audience's fantasy is clearly delineated, only with a face that suggests more B.M.O.C. at your average Mid-Western fraternity than international espionage. But the film is tuned to Verhoeven’s Starship Troopers in that the final reveal has the viewer questioning his or her fantasized identity rather than giving into the lure of diversionary entertainment. * SPOILER ALERT * Upon going face-to-face with Dr. Hirsch, Bourne achieves total recall, remembering that he willingly gave himself over to the Operation, proving his allegiance by willingly killing an unknown captive for no other reason than he's told to. * END SPOILER ALERT *
Therefore, director Paul Greengrass and writer Tony Gilroy reinforce what a responsible viewer should already know, that there's a bit of fascistic yearning underlying these fantasies of agents "doing what has to be done" outside of liberal law – what Spiegel’s Dirty Harry viewed as flaccid bureaucratic moral proscriptions. It never hurts to be reminded.
The Bourne Ultimatum won 3 Oscars: Best Editing, Best Sound, Best Sound Editing.