Skip to main content

BREACH. Dir. Billy Ray. 2007

Image result for movie images breach billy ray


Ryan Phillippe plays Eric, a young, bright, FBI employee whose IT skills and quick thinking get him a job spying on Robert Hanssen (jailed for life in 2001 for providing the KGB with military secrets for 15 years.) Ambitious and motivated, Eric takes it on, hoping for fast track promotion to agent.

Hanssen’s certainty that he is smarter than anyone else is what drives him, but Eric’s smart too, and this suspenseful, intelligent film keeps us guessing as to which one will outwit the other. Eric keeps his cool despite his prey becoming his predator when Hanssen (Chris Cooper) monitors him just as closely, turns up at his house, anticipates every move Eric makes, and is aware of every level of FBI surveillance. He’s a hard man to dupe.

Alongside their egos clashing, the story covers the moral dilemmas of both men. Hanssen is a devout Catholic who fantasizes about Catherine Zeta Jones and sells movies of himself having sex with his wife, while young Eric isn’t happy with the way the job is destabilizing his marriage.

The film’s message is stated twice: It’s what you do that counts, not why. It’s a thought provoking premise and does away with a whole raft of excuses. Hanssen was jailed, so obviously he was caught but, in being caught, his brilliance and effectiveness is made public. Like ‘Catch Me If You Can,’ it’s a thought provoking study of a good mind, unrecognized, becoming destructive.

Dialogue is spare and taut, cinematography is clean and sharp, and there are great performances throughout.

Comments

Popular posts from this blog

Running ‘till your nipples bleed

An email from a friend of mine arrives; she complains that, at work, she is routinely subjected to gruesome accounts of female colleagues’ intimate medical procedures and gynaecological problems. I am all commiseration because I, too, have had years of listening to workplace chats about periods, childbirth and sex lives. Oh please. Later, I wander off for a walk in the early evening sunshine and it is so silent and so beautiful that I flop down on the grass and lay awhile gazing out over the rolling fields, and the mouth of the river, and fall into a reverie. Two men pass by. A few minutes later sounds of women’s talk float nearer and, by the time the two females of the species draw level with me, I have risen up from my deliciously recumbent position in the meadow, alert and tense, something like a meerkat. “I do feel for her. Going down that IVF route is such an emotional roller coaster. I was never prepared for how terrible it was going to be.” I remain frozen in my meerkat position...

Ian McEwan. Amsterdam. London: QPD, 1998

McEwan’s novel about ambition, personal betrayal and revenge features Clive, a modern composer trying to complete a major orchestral work, his friend Vernon, an editor trying to save his ailing newspaper, and Garmony, an unscrupulous right-wing politician on the rise. In common, all three have, in previous years, been lovers of recently dead Molly. They meet at her funeral and the story follows the next few weeks of the men’s lives. Vernon and Clive act as one another’s conscience, each infuriating the other. Which is more important, honesty, friendship and trust or Vernon’s newspaper and Clive’s symphony? The novel presents the difficulties of balancing personal and public morality, the importance of private shame and public reputation, the conflict between taking a moral decision for the greater good, or putting first ones own desires. Not just a simple exposé of a politician with a vulnerable side, Amsterdam is full of double standards and surprises, and takes a long, cynical look a...

Ralph McTell, Truro, 19 April 2007

Ralph's mates from Pentewan have all turned up in a mini bus to hear him sing and play, and he walks onto the stage looking comfortable; he's amongst friends. He's a big man; very charismatic, with a warm smile and a beguiling aura of powerful gentleness. He's relaxed, we're relaxed, and he sits with his guitar, chatting easily between songs, and playing with an easy familiarity with us, and with his material. His guitar playing is intricate and playful; going from ragtime to blues to folk, and his voice is deep and rich. He comments that he's put together quite a serious programme for the two hours he's on stage; it's true that the lyrics are thoughtful and the subjects serious, but there is light material too; a tune about Laurel and Hardy, and one or two covers of old blues numbers. When he sings Streets of London there are happy sighs and the audience sing along very softly; as softly as a whisper. It feels as intimate as if we were just a few people...