Viggo Mortensen and Kirsten Dunst are an American couple touring Greece in 1962 after fleecing investors back home and fleeing the country. At the Acropolis of Athens they bump into tour guide and con artist Oscar Isaac who latches onto the pair in pursuit of their money and Dunst’s feminine charms. Events back in the states catch up with the trio, blood is shed, and soon the three are on the run from the law. Who can be trusted? Will they make it out of the country? Who will Dunst choose, her husband or the man she hardly knows? Will they all make it out alive?
If you haven’t yet noticed The Two Faces of January is a thriller in the most traditional fashion. With its authentic period style, crosses and double crosses, and romantic trysts suggested at but never explicitly shown this film could easily have been made fifty years ago. Being such a slave to convention and possessing such an old-fashioned manner is both to the film’s credit and detriment. The look and feel of the piece is admirable. Every shot is gorgeous and benefits from the production’s globe-trotting filming schedule while the actors are shot in a sympathetic light that showcases bone structure and lets all three leads resemble classic Hollywood icons.
Where traditional thriller mechanics disappoint is in allowing the film to become completely predictable. Maybe not completely predictable, I won’t pretend to have seen every twist and turn coming, but certainly when a character is double crossed or revealed to have an ulterior motive I wasn’t exactly falling out of my seat so much as nodding slowly to myself in a knowing way. Feeling as though you know what is going to happen is a terrible situation to be in when watching a thriller as you are never overly concerned about what actually does happen. Add to this the fact that both male leads are unlikeable untrustworthy types and I was struggling to generate much empathy for them.
As for Dunst’s leading lady; she is the biggest casualty of The Two Faces of January‘s retro feel. While these days we expect, but don’t always get, a female character with some level of personality and backbone this is something that the film fails to provide. Dunst is for the most part a prize to be won and a pawn in the struggle between Mortensen and Isaac. Dunst is seemingly ambivalent about who she ends up with and is equally happy being rescued by either man. When any scene of dramatic importance takes place Dunst will reliably be asleep, waiting in the bedroom, waiting at the top of the stairs, or simply elsewhere not troubling anybody. A feminist icon this character is not.
Quibbles aside The Two Faces of January is a perfectly fine throwback thriller with serviceable acting and beautiful scenery. Just don’t go in expect to see anything new. Writer/director Hossein Amini has certainly got a fine eye but perhaps could have spent some more time energising the plot when adapting from Patricia Highsmith’s original novel.
Both DVD and Blu-ray discs have the same special features which is something to admire in itself. These take the form of the usual collection of featurettes, interviews, and deleted scenes. The interviews focus mainly on celebrating the fact that filming took place in multiple countries; more Wish You Were Here then anything in depth. There is also a blooper reel which felt slightly odd considering the po-faced tone of the film itself.