Based on the novel by Patricia Highsmith, THE TWO FACES OF JANUARY is a period thriller, directed by Hossein Amini. It stars Viggo Mortensen as Chester Macfarland, a con man forced to go on the run from his unscrupulous creditors. Accompanying him is his sweet young wife, Collette (played by Kirsten Dunst), and Rydal (Oscar Isaac), a stranger paid to assist them as they flee the country. As their journey progresses, tension begins to rise between Chester and Rydal, and the relationships between the three are stretched to breaking point.

For all the vibrancy of the setting, TWO FACES is a film characterised by shades of grey. The cheery Greek locals and sunny weather contrast strongly with the muddied motivations of the characters themselves. Despite the wide vistas and stunning beaches, the film feels very claustrophobic as Ryland and the Macfarlands inhabit their own separate world, far removed from those of the dancing girls and bedazzled tourists. As the tension ramps up, every smile and every gesture seems false, and the previously sunny dispositions of the locals remain unchanged but begin to take a decidedly creepy edge. It’s this masterful mix of hostility and hospitality that is prevalent throughout the film, lending credibility to the overarching theme of paranoia.

 ‘neither victim nor villain, but – very human’.

The skill in both the writing and acting is evident, as is the cohesive relationship between cast and crew. Amini’s laid back style of directing gives his actors freedom to explore their characters, and it yields emergent results that far exceed the source material. In one instance, three pages of dialogue in Highsmith’s original novel are replaced by a single, completely silent scene. It’s these moments that really give the actors their chance to shine, and shine they do. The distrust between Rydal and Chester is enhanced by the real-life (friendly) rivalry between the established veteran actor versus the rising star.
The role of Collette is also significantly expanded from the novel, a deliberate decision by Amini to give Kirsten Dunst more room to manoeuvre. Of all the three, Collette is the most relatable: a normal woman thrust into the midst of events she doesn’t understand, and certainly doesn’t care for. She’s also the sole member of the trio who doesn’t exhibit any criminal tendencies (making her perhaps the most morally sound character in the whole film). Dunst is careful not to overplay her, and only occasional chinks appear in her armour – a frown here, an exasperated sigh there. The care taken with this pacing ensures her credibility as a loving wife pushed to the edge, as opposed to a tearful harpy whose only function is to facilitate the chemistry between the her male companions.

Meanwhile Viggo Mortensen is in his element as Chester, a man who veers from panicked impulse to cold logic at the drop of a hat. Mortensen is especially adept at the latter, and from the very first scene we are constantly given glimpses of Chester’s more calculating side as he always vies to stay one step ahead. As his relationships with the other two deteriorate, the more desperate part of his personality overrides his cool, composed exterior. It’s the sort of person Mortensen was born to play, and indeed such characters comprise most of his career. The lead roles in his two other most successful films – A HISTORY OF VIOLENCE and EASTERN PROMISES – are similar melting pots of morality, and he brings his trademark sombreness and conflict to Chester, a man Mortensen himself describes as ‘neither victim nor villain, but – very human’.

Oscar Isaac plays Rydal, a casual scammer befriended early on by the couple. Though he is paid for his assistance in their escape, his interest in them is genuine, and he demonstrates outright concern for them in several instances. The young Isaac imbues Rydal with a certain innocence, offset by a quiet intelligence and a penchant for quick thinking that often seems at odds with Chester’s blind panics. As Rydal’s confidence develops through the film, Isaac and Mortensen work together to cultivate an impressive chemistry between their two characters, which at times almost threatens to eclipse Dunst’s performance entirely.

 Amini expertly isolates his characters from the rest of the world…

Throughout the film, there is a sense of urgency and omnipresent paranoia that influences every word, every action and every thought, especially in the later acts. The narrative is a delicate one, with so much relying on suspense and pacing. Thankfully, Amini consistently shows himself to be proficient in both, with the occasional bouts of frantic action serving only to remind us that we are not watching stone-cold master criminals. Simultaneously, Amini expertly isolates his characters from the rest of the world, thereby injecting an extra dose of humanity into them, which is executed near-flawlessly by a solid cast. Though a few of the early twists are a little predictable, the phenomenal acting and intelligent script combine with all the director’s subtle hints and personal touches to make THE TWO FACES OF JANUARY worthy of multiple viewings.

httpvh://www.youtube.com/watch?v=B4xlQCPozBg