Based on Martin Booth’s novel, “A Very Private Gentleman” (a better, more specific title), adapted to the screen by Rowan Joff, The American is directed by the former photographer Anton Corbjin, as a follow-up to his critically acclaimed, award-winning first feature, “Control.”
Bearing the visual signature and mise-en-scene of a deliberate, self-conscious European art film, “The American” is one of Clooney’s least commercial films for several reasons. The source material has been compressed, with only selective scenes pulled out of the book. More importantly, there are only three or four characters in addition Jack, and with the exception of one (his love interest Carla), none properly developed.
The little info that’s conveyed about Jack’s background comes from a number of telephone calls he makes, from which we learn about a major misstep in Sweden. Jack is an assassin, whose latest job in Sweden went awry, ending more harshly than anyone expected. At first, retreating to the gorgeous but unfamiliar Italian countryside, he relishes being away from spying, action, and imminent death.