The film follows the exploits of the infamous terrorist Carlos "The Jackal" throughout the 70s, 80s and early 90s, and reveals him to be a charismatic sociopath with a hint of James Bond -- if 007 fought exclusively for the bad guys.
Of course, Carlos sees himself as a loyal solider in the communist revolution and his ruthlessness earned him a lot of business --and protection--from like-minded regimes. But nothing lasts forever. While we're reveling in Carlos' militant globetrotting, we're also witnessing the evolution of late 20th century geopolitics--or at least its ugly underbelly.
Besides telling an immensely complex and compelling story, director and co-writer Olivier Assayas deserves recognition for the sheer scope of the project, shot in nine countries on three continents and featuring 11 languages. And, of course, the hyper-realistic hostage takings and down-and-dirty bombings, some of which reminded me of the bumbling terrorists in the comedy "Four Lions," playing just across the hall.
As Carlos, Venezuelan actor Edgar Ramirez is simply incredible, turning a shadowy public figure into someone frighteningly real. The role must have been physically grueling as well, taking the actor from a svelte young soldier, aglow with high ideals, to a bloated relic of the Cold War, hiding out in the few remaining countries that'll still have him. Oh, and Ramirez delivers his lines with equal strength in English, Spanish, Arabic, German, and who knows what else I'm forgetting. Amazing.
But the character's most compelling transformation happens gradually, as Carlos' extreme political ideals begin to twist and contort over the years, eventually becoming little more than bizarre justifications for cold-blooded murder.
It's understandable that you might be turned off by the film's running time. In fact, it was originally produced for television, so watching it at home over the course of a few nights could be a more convenient option for you. But seeing "Carlos" on the big screen, joined by a smattering of equally brave comrades-in-film, gives this monumental cinematic effort the respect it deserves.
And now to throw in a little playful disrespect, allow me to offer up a potential drinking game to pair with a home viewing of "Carlos." A terrorist leads a busy life. Changing passports, airplanes and cars like most of us change our underwear. Assayas captures this constant stream of motion in almost obsessive detail, particularly when it comes to cars. Getting in. Getting out. Pulling Up. Driving Away. It's effective and, likely, accurate. But, if you're like me, it might become tiresome by the fourth hour.
This is where the drinking game comes in. One sip for every car door slam. Two sips for every curbside pull-up, driveway arrival or departure. A chug for every rental car driven away. A shot for every car that peels away from the curb. You get the picture. Enjoy. (But don't drink and drive.)
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