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by Frank Wilkins
Director Phillip Noyce follows up his brutally revealing Rabbit Proof Fence (2002) with another equally honest political expose, The Quiet American. The second screen adaptation of Graham Greene's stimulating novel, The Quiet American is a powerful story of the deadly consequences of mixing love with politics. Although it deals with the abstruse subject of the pre-communist political climate of Viet Nam, Noyce, screenwriter Christopher Hampton, and cinematographer Christoher Doyle, not only manage to keep the story interesting, they draw you into the experience with the film's rich ambience and simple narration.

Thomas Fowler (Michael Caine) is a dispassionate British journalist on assignment in Saigon in 1952. Despite the roiling political climate, Fowler is content with filing an occasional story, continuing his affair with a local taxi dancer named Phuong (Do Thi Hai Yen) and otherwise living a pleasurable, care-free life.

Enter Alden Pyle (Brendan Fraser), a seemingly wet-behind-the-ears but gung-ho American aid worker whom Fowler later observes speaking fluently with the locals. As if the deceptive nature of Pyle's business is not conflicting enough, he also expresses his love for Phuong, setting up a dangerous love triangle dipped in a romantic setting but discolored with the deceptive nature of politics.

To this point, Fowler has managed to regard Pyle's diligence with a certain amount of indifference, but upon further investigation, Fowler discovers that Pyle is working to elevate an alternative governmental force in the region. But still Fowler proclaims, "I don't get involved. I just report what I see".

However, upon witnessing a horrific car bombing supposedly masterminded by pro-American interests in the area, the previously impartial Fowler is faced with a moral quandary. Can one refuse to take a side in the face of such a brutal political policy? The escalation of violence in the country he loves, coupled with the potential loss of his mistress to the younger Pyle, plunges Fowler deeper into his predicament. Caine nails his portrayal of a man who sees himself as invulnerable to the very feelings that eventually overtake him.

Fraser is convincing as the contra-character to Fowler. His puppy-dog-eyes lend further credence to the seemingly benign nature of his visit to Nam, making it easy to overlook the danger of his character.

Although the film is set in 1950s Viet Nam, it's hard not to see it as analogous to our country's current political situation. Almost prophetic in its telling, The Quiet American's release, originally scheduled for Fall of 2001, was delayed for more than a year after the events of 9/11. But, because the film touches still-exposed nerves of pro-American policy, I have a feeling that any post-9/11 release date would still be a risky proposition.

The Quiet American is a complicated story told in a simplistic manner that should appeal to any one who loves good filmmaking and inspired acting. Its thick, gooey ambiance of the Southeast Asian delta region coupled with an intriguing story of clandestine political maneuvering drench the tale of a love triangle in a delicious yet disturbing coating. It is also a great history lesson of the beginning of America's involvement in the Viet Nam conflict.

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