In the Line of Fire

(out of four)

By David N. Butterworth

Who wouldn't relish the opportunity to redeem themselves for a past failure if given a second chance? That's the simple premise behind In the Line of Fire, the latest film to star Hollywood legend Clint Eastwood. But the movie takes this thin idea and runs with it, resulting in a taut and genuinely believable political thriller that's every bit as watchable as the laconic star himself.

Eastwood plays Frank Horrigan, a Secret Service agent of long standing with a presidential skeleton in his closet–he failed to stop the bullet that killed John F. Kennedy. Thirty years later he gets the chance to prove himself when a would-be assassin comes a-calling, taunting Horrigan with threats of repeating the horror of Dealy Plaza.

Eastwood's Horrigan seems like a real person. He's a self-confessed "borderline burnout with questionable social skills" who collects jazz records, tinkles the old ivories, and likes to ride public transportation. He also "knows things about people." Horrigan refers to himself as "over fifty" in the film (Eastwood is actually 63), and one of In the Line of Fire's strengths is that it doesn't pretend otherwise.

In fact, Horrigan is paired with a rookie cop, played by Dylan McDermott, to play up his comparative age and experience. Then there's a repeating theme about how Horrigan's just too old for this line of work–the killer calls, the Feds trace the call, the Feds race out the door, Horrigan huffs and puffs along. Given his age, it's remarkable that Eastwood does so much of his own stuntwork (i.e., running). Finally, the touching relationship that develops between Horrigan and agent Lilly Raines (Rene Russo) works because Eastwood isn't playing a standard romantic lead. Their abbreviated love scene evokes a smile rather than a cringe.

John Malkovich is convincing in the role of James McCrawley, an obsessive paranoid who's as smart as he is dangerous. He's not a generic lunatic, suffering from some pat psychological disorder, but a frighteningly plausible personality. And he takes great delight in pushing all of Horrigan's buttons. There are lots–and I mean lots–of shots of Eastwood, receiver pushed to his ear, temples pounding, brow like a newly ploughed field. "I don't have to listen to any more of this!" he growls. But he's paid to take this psycho's abuse. McCrawley dribbles and snaps and flips out often; it's clear we're dealing with a timebomb of a man who's likely to explode at any moment.

One of the things that makes In the Line of Fire so realistic is that the producers don't pretend Eastwood's a spry, 30-year-old action hero. He, Russo, and Malkovich all perform admirably. In fact, Eastwood comes awfully close to acting at times. Some weak and obvious wisecracks apart, he really shines.

Also impressive are the film's supporting characters. Fred Dalton Thompson plays Chief-of-Staff Harry Sargent whose role is that of the typical shortsighted bureaucrat; he's so focused in on his job (in this case the success of the Presidential campaign) that he's oblivious to the threat of any real danger. Gary Cole and John Mahoney play high-ranking government officials with equal competence.

But perhaps the nicest surprise is the way In the Line of Fire gives presidential bodyguards their due. Their role, protecting someone as prominent as the U.S. President, is depicted as extremely difficult and uncompromising. At a political convention, with flashbulbs bursting and photographers swarming, Horrigan is among the anxious agents keeping order. This is a tough job all right. Ironically, Horrigan refers to some Secret Service operations as "window dressing." If someone wanted to take an anti-tank gun to the President's limousine, a dozen Federal agents running alongside isn't much of a deterrent. All they really do is make the President look more presidential.

What you need in a film like this is a tough, likable lead, a sympathetic (but not whiny) sidekick/love interest, and a convincing villain. In the Line of Fire has all three. Add well-rounded supporting characters, a surprisingly good storyline (from the pen of Jeff Maguire), and brisk direction (by Wolfgang Petersen) and you've got yourself a well-paced thriller worth watching.