In a plot which bears more than a passing resemblance to this summer’s underperformer Knight and Day, The Tourist finds a heavier-than-usual Depp playing against type as a mild-mannered American maths teacher who meets a mysterious (is there any other type in this kind of film?) English beauty (played by Jolie), in a seemingly chance encounter on a train to Venice. We’re soon thrust into a world of espionage when it’s revealed that she is using her potential love interest as a decoy to throw the British secret service off her trail as she searches for her lover who has gone AWOL, partly due to owing a ridiculous amount of moolah to a Russian gangster (whose henchmen all bear an identical, cartoon-like appearance).
Traditionally, foreign filmmakers have experienced mixed levels of success when Hollywood comes-a-knocking. While some manage to thrive by retaining the sensibilities which made them unique (a recent example being Guillermo del Toro), others fail, sometimes by abandoning that very style of filmmaking which earned them acclaim in the first place. Sadly, von Donnersmarck falls into the latter with his film. Having made the suspenseful, sobering and incredibly moving communist-era character piece The Lives of Others, his attempts at creating a purposely old-fashioned crowd-pleaser fail miserably here.
The film wants desperately to be a quirky, romantic euro crime caper but suffers from a plot full of gaping holes, one horrible cliché after another, unmemorable and lazy dialogue (even more shocking when you realise that two of the three writers are Academy award winners!) and just a general lack of effort from all concerned. Presented with characters we’re expected to connect with, they never manage to gain our sympathy and frankly, are too dull to care about anyway, which renders any kind of emotional investment in them obsolete.
It’s likely that von Donnersmarck had to content with the usual problems associated with the politics of helming a first-time US studio feature – an issue which plagued his fellow countrymen Oliver Hirschbiegel’s ill-received US debut, The Invasion. It’s just a shame that there’s a real lack of any craftsmanship on display too.
On the evidence of The Tourist, the director may find himself on various studios’ wish lists to direct the next Kate Hudson/Matthew McConaughey action rom-com. I’m sure for a filmmaker who showed so much promise on his home turf, this is far from what he envisioned.