The Bourne franchise really is one of the marvels of the modern age. Transforming a series of hoary old airport books by Robert Ludlum into a sleek, post-Gen X entertainment has required the most sophisticated of ruses. (In a previous life, it’s worth noting, Bourne was unlovely TV filler featuring Richard Chamberlain.)
An amnesiac super-spy just out to survive would, as Doug Liman realised with the first Bourne, have bags more appeal than some suit out to rah-rah for Queen and country. But that premise was furthered by Paul Greengrass’ remarkable stylistic chicanery in The Bourne Supremacy. It is this trademark docu-drama aesthetic that has grounded and reinvigorated espionage for the kids.
You realise just how many cracks the visceral approach has papered over in the final moments of The Bourne Ultimatum, the last and best film of the trilogy. Until that point, Paul Greengrass’ trusty shakicam has been put purely in the service of a thrilling chase. The director, following last year’s excellent United 93, keeps everything at close range, upping the intensity and virtually eliminating the need for such niceties as continuity.
A pounding score that rises in tribute to Morricone’s for The Battle Of Algiers only stops for one crunchy fight in an apartment. The longueurs that defined bigger set pieces in the previous films have vanished. Now, as Jason Bourne’s (Matt Damon) running man finally closes in on the people who robbed him of his identity, he faces his deadliest foe yet - in-fighting at the CIA. Caught in a crossfire between David “We’ve Eliminated All The Red Tape” Strathairn and Joan “I Didn’t Sign Up For This” Allen, Bourne’s journey takes him to the Guardian offices, Tangiers, New York and Spain where he briefly hooks up with his erstwhile colleague Julia Stiles.
It takes a great cast to make dialogue staples like “lock all the exits… take them out” sound like terrific writing but Team Bourne are well capable of maximising minimalism. Even when the film strays into potential Dr. Evil territory during an otherwise perfectly pitched denouement, it’s simply too immediate, too natural and too exhilarating to allow you to leave the moment.
James Bond take note. Oh wait, you already have.