The Big Clock, 1946 crime novel by American author Kenneth Fearing, is considered to be one of the finest works of the genre. As such, it was adapted to big screen three times, resulting in three very different films. The first and most faithful adaptation, set in New York journalistic milieu, was eponymous 1948 film noir starring Ray Milland and Charles Laughton. The second adaptation was 1975 French film Police Python 357 starring Yves Montand as police detective. The third and best known adaptation is No Way Out, 1987 film directed by Roger Donaldson and set within US political, military and intelligence establishment in Washington, D.C.
The protagonist, played by Kevin Costner, is US Navy Lieutenant Commander Tom Farrell, career officer who, thanks to heroic rescue of a ship crewman and old friendship with influential official Scott Pritchard (played by Will Patton) gets assigned to Pentagon where he would work for Pritchard boss, Secretary of Defense David Brice (played by Gene Hackman). His job is to liaise between Brice and various intelligence agencies. In spare time, he also maintains passionate love affair with Susan Attwell (played by Sean Young), beautiful woman he had met at inaugural ball few months earlier. She, however, happens to be Brice’s mistress and when Brice finds that she is seeing another man, he explodes with jealous rage and accidentally kills her. Pritchard is called to the scene where he begins to remove the evidence in order to protect the boss, but also comes with ingenious plan to cover up the crime. Murder investigation is to be directed at Attwell’s other lover, and using the pretext of “Yuri”, fictional Soviet spy infiltrated into Pentagon, led by military intelligence, subordinated to Brice. Farrell is ordered to lead the investigation and, to his horror, all the clues and evidence begin to point towards him as the perpetrator, which is in the end likely to be permanently silenced by black ops specialists Brice has recruited for the occasion. As the walls begin to close around him, Farrell must use all of his skills and ingenuity to escape the trap and find the evidence that would point to real killer.
New Zealand film maker Roger Donaldson directs No Way Out with great skill, which is evident from the opening shot that sets the atmosphere by confronting Washington monuments, buildings and other symbols of power with a single and seemingly weak protagonist. Donaldson provides very good pacing and, despite complex plot and plenty of supporting characters, nearly two hours of running time pass very quickly for most of the audience. Cinematography by John Alcott, Stanley Kubrick’s collaborator who died during the production, is put to good use. The greatest asset of the film is, however, Kevin Costner who fully exploits opportunity given by one of his early starring roles. He plays characters that perfectly fits the image of film’s hero; Farrell is kind-hearted, resourceful, ingenious, charming and, last but not least, looks “cool” in the white uniform which is worn for most of the time. Costner is also quite believable in scenes when his character in very subtle ways shows anxiety and fear when things start to go wrong. He is also impressive in action scenes which are quite numerous for this genre and during which, much to displeasure of film’s insurers, provided his owns stunts.
Costner easily outshines all the other members of rather impressive cast. Sean Young is very good in thankless role during which she appears nude and has good chemistry with Costner; sadly, her character disappears from the film too early to have proper impact. Gene Hackman is, on the other hand, not that impressive as hypocritical, over-privileged and arrogant politician, a character not that different from the one played in much worse Absolute Power a decade later. Will Patton is much more memorable as his menacing, snake-like henchman, although he goes a little bit over the top near the end. Among the supporting players George Dzundza stands out as Pentagon’s wheelchair-bound computer expert and Farrell’s friend who helps him without grasping what kind of dangerous intrigue he got involved in.
Robert Garland in his script did good job in updating basic plot for 1980s. Modern technology, that wasn’t around in 1940s, plays big part in No Way Out. That includes both Polaroid photography and computers that, although primitive for today’s standards, are used to help with research and, more notably, restore incriminating and potentially fatale evidence in form of protagonist’s face on undeveloped Polaroid image. Garland also uses complex plot as some sort of critical commentary on US policies during at the time. One scene features black South African, played by Iman, who is implied to be persecuted by white minority Apartheid regime, which Reagan’s administration implicitly supported at the time. Brice’s goons are implied to be veterans of US dirty proxy war against leftist governments and guerillas in Central America. A subplot showing Brice trying to shut down “white elephant” project of “phantom submarine” championed by influential Senator Duff (played by Howard Duff) depicts how in 1980s, just as today, US politics was under the yoke of military-industrial complex.
No Way Out was successful at the box office and most of today’s audience can agree with that initial verdict. The film, however, isn’t without its flaws, most notable among them being related to music. Entire film is nearly destroyed by anaemic and often annoying synthesiser-heavy soundtrack by veteran composer Maurice Jarre. The dreadful title song, on the other thing, kills the mood in what was supposed to be one of the steamier love scenes in increasingly prudish 1980s Hollywood. General impression was, however, rescued by Garland adding truly unexpected twist at the very end, which is, ironically, more effective now than in gentler, kinder, less paranoid and less dangerous times of Cold War.
RATING: 6/10 (++)
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