The latest Reel 13 "Indie" is another film, like last month's A PROBLEM WITH FEAR that doesn't feel very much like an indie. It stars Matt Dillon, James Caan and Stellan Skaarsgard and is shot almost entirely in Cambodia. IMDb reports the budget to be $17.5 million. How does any film that cost over $10 million qualify as an independent film? While I question its status as an independent film, CITY OF GHOSTS is hardly as mind numbing as A PROBLEM WITH FEAR. As a matter of fact, it has a lot of great qualities, but somehow still doesn't capture the viewer in the way you would want it to.
Aside from a sadly two-dimensional and useless Natasha McElhone love-interest character, the rest of the characters in the film are well-developed and well-played. Matt Dillon, who also directs, is extremely subtle and nuanced in a role that wisely seems to play well to his strengths. James Caan plays an underworld kingpin type role that he's played a million times, but adds terrific layers of pathos and regret that help shape the character. Not surprisingly, Skaarsgard is great at depicting the way fear, guilt and greed can eat away at a soul.
The plot, which is kind of like a modern-day, Southeast Asian version of THE THIRD MAN is well laid-out and full of plausible, interesting twists. The cinematography by Jim Denault is rich in texture and palette. The design is believable and detailed. So, with all these strong elements, it's initially hard to figure out why they don't all add up to a great film.
In thinking about it further, I've decided that the fatal flaw of the film comes in the first act. In Dillon's haste to get the plot rolling, he and his screenwriting partner, Barry Gifford neglected to get us to care about or like the main character of Jimmy. They are good about giving us information and backstory in regards to the character and all of his actions make sense and are understandable. As I said, Dillon portrays him believably as a complex, haunted man, but it occurred to me that at no point did I root for him. I understand that Dillon wanted to create a character that doesn't wear his heart on his sleeve and whose essence was deeper than he would ever reveal to people he meets. Still, I think the audience has to see it. An example of a similar character done very well is Matt Damon in THE GOOD SHEPHERD. Damon plays one of the most quiet, understated and seemingly emotionless characters of the decade, but he, in collaboration with his director Robert DeNiro, portray occasional moments of weakness throughout the film – moments where his guard is let down. No character within the film is privy to these moments – only the audience and it's just enough to connect you with the character and hence to get you emotionally involved in the character's journey. That's the missing link in CITY OF GHOSTS. It may seem like a small thing, but in the house of cards that is filmmaking, it would be one of the cards that you need on the very bottom. Without it, the whole thing comes toppling down.