Review by Dragan Antulov
2 stars out of 4
What happens when Hollywood pairs one of its hottest male
stars with one of the hottest pop divas, hoping to cash on
the "hot" soundtrack as well as at the box-office? This odd
combination sometimes can end as complete disaster, but
sometimes it can create huge gap between snobbish critics
and general audience. While the critics usually cut those
films to little pieces due to their more than obvious
commercial nature, general audience might (and often does)
succumb to clever advertising campaigns and flock to the
theatres. One of such examples is THE BODYGUARD, 1992
romantic thriller directed by Mick Jackson, film that was
both immensely popular and passionately panned by the
critics.
The plot of this film is based on the script by Lawrence
Kasdan, originally written in 1975 with stars like Steve
McQueen and Diana Ross in mind. The protagonist is Frank
Farmer (played by Kevin Costner), former Secret Service
agent who turned to private sector and began working as a
private bodyguard for various wealthy customers. His next
potential client is Rachael Marron (played by Whitney
Houston), pop diva recently being targeted by mysterious but
very determined and potentially dangerous stalker. Farmer
reluctantly accepts the job and soon the friction arises
between him and the diva. While Farmer, as professional,
tries to provide the best possible protection by imposing
new, tighter and often unpleasant security measures, Marron
doesn't want to alter her lifestyle or jeopardise her
popularity by limiting her public appearances. But this
isn't the only thing that creates tensions in the
relationship between Farmer and Marron - two of them soon
discover that they are attracted to each other. While their
relationship becomes more romantic, the stalker is getting
much closer.
At first sight, THE BODYGUARD looks just like another "high
concept" product of Hollywood - genre combination of
straightforward thriller and old-fashioned romance that
employs all the cliches of their respective genres. So, two
lovers start their relationship by despising each other,
after more than obvious red herrings identity of the chief
villain is telegraphed in the middle of film, while the
finale provides spectacular, but ridiculously unbelievable
assassination attempt. However, THE BODYGUARD manages to
work very well within those limitations, mostly due to
Kasdan's script being based more on the characters than on
the weak story. Relatively unknown director Mick Jackson
deliberately chooses slow pace and thus allows more room for
character development, as well as for Kasdan to give some of
his observations on the nature of fame and celebrity in
modern world. The main dramatic conflict in this film -
between Farmer's desire to keep Rachael safe at any cost and
Rachael's desire to stay in public spotlight at any cost -
is a dilemma which is very real for many of our world's
celebrities. On one hand, their livelihoods depend on the
media exposure, while, on the other hand, exposure is
certain to bring unwanted attention and make them targets of
various dangerous individuals. Five years later with the
deaths of Gianni Versace and Princess Diana, the general
public became aware of the dilemma presented in this film.
The acting in THE BODYGUARD is very good. Kevin Costner,
obviously aware for whom the role has been originally made,
puts a lot of effort into his Steve McQueen impersonation
and the result is more than impressive. Whitney Houston, on
the other hand, has a somewhat easier job of playing
character in many ways similar to herself and therefore
doesn't have to display acting talent. The supporting cast
is also good, especially Michele Lamar Richards as Rachael's
sister and it is refreshing to see Mike Starr playing a nice
guy for a change. The original music soundtrack by Alan
Silvestri is also good, but hardly anyone will remember it,
unlike Whitney Houston's songs that play throughout the
whole film. Finally, the ending of the film, which is both
realistic and unconventional for standard Hollywood
products, leaves us with much better impression of THE
BODYGUARD as entertaining little film, much better than its
initial reputation.
Copyright © 2002 Dragan Antulov
|