Issue date: 3/14/03 Section: Entertainment

Caine shines as a journalist opposite the idealistic soldier of Brendan Fraser.

The critical examination of American values and imperialism makes the timing of the release of The Quiet American almost perfect. It was pushed back indefinitely after the terrorist attacks of September 11, 2001, but after thunderous praise at the 2002 Toronto Film Festival, the film was finally made available to the public.

Based on a Graham Greene novel by the same name, The Quiet American is set in 1950s Vietnam. The French are fighting a losing battle against the Communists in the North. Thomas Fowler (Michael Caine) is a jaded journalist for the London Times and is supposed to be covering the war from Saigon. Instead, he drowns his acute sadness in opium and an affair with a beautiful Vietnamese woman, Phuong (Do Thi Hai Yen).

Pyle sells himself as an American doctor trying to rid the Vietnamese of eye infections. However, from the scene in which he is introduced, it is obvious that something is amiss. Pyle soon meets Phuong and immediately falls in love with her. The love triangle that ensues provides an interesting commentary on US involvement.

Like the French, Fowler is an impotent force that is too involved in the situation to simply withdraw. The overly-confident and idealistic Pyle represents the United States. Lastly, of course, Phuong is the personification of Vietnam. As an ex-call girl, she is no longer an acceptable wife for any respectable Vietnamese man, so she becomes reliant upon the aid of Westerners.

All three of these actors fit their roles superbly. Despite the fact that Do Thi Hai Yen's few lines are not delivered well (this is probably because she is not fluent in English), her actions speak loudly. It is never clear exactly how she feels about Pyle or Fowler, but that is the point. Her feelings are not significant; she would be equally happy with any man that could provide a new life for her. What matters is how the men feel about her. Brendan Fraser's performance is pleasantly surprising and begs the question "Why Monkeybone?" Michael Caine is absolutely stunning as the cynical journalist; his performance is extremely subtle and never seems forced or overly dramatic.

Phillip Noyce's direction also deserves praise, as does the cinematography. Even the scenes that depict carnage are extremely beautiful and subtle. The bombing scene near the end of the film is arguably one of the best scenes in cinema of the past few years. There is an air of uneasiness as Fowler takes his breakfast, but it is not clear why. Soon there are a few explosions and the quiet morning erupts into chaos. An impressive use of slow motion is rare, but combined with the disturbing images of the scattered victims, Noyce uses the effect perfectly. Fowler's profound attachment to his new home and Pyle's utter indifference to human suffering are artfully revealed during this sequence.

The long scenes and slow passage of time might be off-putting to some, but The Quiet American is definitely worth it. At times, it seems like the plot is not progressing, but the beauty of the film lies in this feeling. Looking back over all the events that did not seem significant at first glance, much has been said, despite the fact that not much has happened.

This type of film is exactly what America needs right now. Not only is it a quality work, it offers a critique of our predominant value system. Do outsiders always understand the situation inside a struggling country? Should a brash young man try to change that which he firmly believes to be wrong, no matter what the "collateral damage"? The Quiet American answers both questions with a resounding no.

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